北宋释惠洪绘画思想研究
发布时间：2019-03-05 14:02
【摘要】：释惠洪是北宋后期临济宗之高僧,于禅学、禅史、诗文、书画等方面皆有颇高造诣。他将禅宗思想与绘画创作相结合,形成了独到的绘画思想,对禅宗绘画发展产生了深远的影响。本文以他绘画思想为研究方向,从四个方面展开讨论:第一、将惠洪置于北宋绘画史中,来讨论惠洪绘画思想产生的背景因素。通过分析唐以后禅宗绘画发展概况,以及惠洪与当时禅僧画家、文人士夫的交往,帮助认识惠洪绘画思想产生的历史语境,挖掘出影响惠洪绘画思想的时代因素。对惠洪绘画创作与鉴赏的分析以及审美取向的还原,为进一步理解其绘画思想的形成大有裨益。第二、通过讨论禅宗绘画在实践与理论上的矛盾,分析惠洪的绘画本质论。惠洪认为绘画与佛性是表象与本体的关系,通过表象可以认识本体,就像能通过花认识春天。进一步惠洪又将绘画视为参禅悟道的工具,提出“以笔墨作佛事”的说法。第三、惠洪结合佛教“游戏三昧”思想提出了“游戏翰墨”的主张,并以此作为禅宗参与绘画的要旨,为禅僧画家打通了以画悟道的方便法门。“游戏翰墨”不仅被禅僧画家广泛接受,促进减笔水墨风格的发展,也对文人画产生了一定的影响。第四、惠洪将禅宗思想应用到绘画创作与审美鉴赏中,提出“妙观逸想”的艺术思维观,作为禅宗绘画创作的指导要求,对后世禅宗绘画的发展影响颇深。惠洪将禅宗绘画实践与禅宗思想相结合,将笔墨视为佛事,认为深得佛法三昧的人可以从中来去自由,无滞无碍,也能通过绘画了解佛法精义,借绘画来度诸有情。
[Abstract]:Shi Huihong is a high-ranking monk of Linji Buddhism in the late Northern Song Dynasty. He has high attainments in Zen, Zen history, poetry, calligraphy and painting, etc. He combined Zen thought with painting creation, formed unique painting thought, and had far-reaching influence on the development of Zen painting. Taking his painting thought as the research direction, this paper discusses four aspects: first, Huihong is placed in the painting history of the Northern Song Dynasty to discuss the background factors of Huihong's painting thought. By analyzing the general situation of the development of Zen painting after Tang Dynasty and the communication between Huihong and Zen monk painters and literati at that time, it helps to understand the historical context of Huihong's painting thought, and finds out the time factors that affect Huihong's painting thought. The analysis of Huihong's painting creation and appreciation and the restoration of aesthetic orientation are of great benefit to further understand the formation of his painting thought. Secondly, through discussing the contradiction between practice and theory of Zen painting, this paper analyzes Huihong's theory of painting essence. Huihong believes that painting and Buddhism are the relationship between representation and Noumenon. Through imagery, Noumenon can be recognized, just as flowers can understand spring. Huihong further regarded painting as a tool for meditation, and put forward the idea of "using ink and pen as a Buddhist thing". Thirdly, Huihong put forward the idea of "game calligraphy" in combination with Buddhism's thought of "playing Sanzhan", and as the essentials of Zen Buddhism participating in painting, opened up the convenient method for Zen monk painters to draw and understand the Tao. Game calligraphy is not only widely accepted by Zen monk painters and promotes the development of pen-reducing ink style, but also has a certain impact on literati painting. Fourthly, Huihong applied the Zen thought to the painting creation and aesthetic appreciation, and put forward the artistic thought view of "the wonderful view and the easy thought", as the guidance request of the Zen painting creation, it had a deep influence on the development of the Zen painting in the later generations. Huihong combines the practice of Zen painting with Zen thought, regards pen and ink as a Buddhist thing, and thinks that people who are deeply enlightened by Buddhism can come and go freely from it, without hindrance, but also can understand the essence and meaning of Buddhism through painting, and learn all kinds of feelings through painting.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212
本文编号：2434980
[Abstract]:Shi Huihong is a high-ranking monk of Linji Buddhism in the late Northern Song Dynasty. He has high attainments in Zen, Zen history, poetry, calligraphy and painting, etc. He combined Zen thought with painting creation, formed unique painting thought, and had far-reaching influence on the development of Zen painting. Taking his painting thought as the research direction, this paper discusses four aspects: first, Huihong is placed in the painting history of the Northern Song Dynasty to discuss the background factors of Huihong's painting thought. By analyzing the general situation of the development of Zen painting after Tang Dynasty and the communication between Huihong and Zen monk painters and literati at that time, it helps to understand the historical context of Huihong's painting thought, and finds out the time factors that affect Huihong's painting thought. The analysis of Huihong's painting creation and appreciation and the restoration of aesthetic orientation are of great benefit to further understand the formation of his painting thought. Secondly, through discussing the contradiction between practice and theory of Zen painting, this paper analyzes Huihong's theory of painting essence. Huihong believes that painting and Buddhism are the relationship between representation and Noumenon. Through imagery, Noumenon can be recognized, just as flowers can understand spring. Huihong further regarded painting as a tool for meditation, and put forward the idea of "using ink and pen as a Buddhist thing". Thirdly, Huihong put forward the idea of "game calligraphy" in combination with Buddhism's thought of "playing Sanzhan", and as the essentials of Zen Buddhism participating in painting, opened up the convenient method for Zen monk painters to draw and understand the Tao. Game calligraphy is not only widely accepted by Zen monk painters and promotes the development of pen-reducing ink style, but also has a certain impact on literati painting. Fourthly, Huihong applied the Zen thought to the painting creation and aesthetic appreciation, and put forward the artistic thought view of "the wonderful view and the easy thought", as the guidance request of the Zen painting creation, it had a deep influence on the development of the Zen painting in the later generations. Huihong combines the practice of Zen painting with Zen thought, regards pen and ink as a Buddhist thing, and thinks that people who are deeply enlightened by Buddhism can come and go freely from it, without hindrance, but also can understand the essence and meaning of Buddhism through painting, and learn all kinds of feelings through painting.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212
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