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題名 | 宗教圖像藝術之美學意義探微=Aesthetic Dimension of Religious Art--A Study on the Sense of Beauty in Chinese Buddhist Icons |
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作者 | 劉千美; | 書刊名 | 哲學與文化 |
卷期 | 32:4=371 民94.04 |
頁次 | 頁73-88 |
專輯 | 宗教哲學專題 |
分類號 | 901.7 |
關鍵詞 | 宗教美學; 圖像藝術; 俗世化; 美感; 救贖; 修行; Aesthetics of religion; Art of image; Secularization; Sense of beauty; Redemption; Self-cultivation throught art; |
語文 | 中文(Chinese) |
中文摘要 | 宗教圖像藝術,是宗教經驗的美感具現方式之一。藉由美感經驗,宗教圖像藝術所欲揭示的神妙不可測之神聖蹤跡,隱然臨現。本文主要從宗教美學的觀點,以中國佛教圖像藝術為例,探討宗教造像藝術之美學的意義與價值。本文首先檢討宗教圖像之美感體驗的俗化現象,指出當代宗教圖像藝術研究與觀賞,傾向於根據形式與結構分析宗教作品的純粹美感價值,以別於宗教崇拜的神秘性。由於強調圖像形式的俗世性質,以致忽略美感指向宗教層次的象徵力量。其次,探討宗教圖像俗世化的美感價值,指出中國佛教藝術的俗世化的美感傾向,意味宗教精神正從日常生活的流動神話中,取得新的藝術形式。第三,本文將指出美感總是走在已顯現之存有的形象之前,指向那不斷消逝之存有的蹤跡。真正的藝術家宛若廟堂裡的司祭,以作品為祭而與神會。第四,探討美感經驗的救贖價值,指出宗教美感經驗的救贖意義,不在於經由愉稅感暫時忘卻痛苦與煩惱,而在於覺察萬物之美總是指向事物自身存在之外的他者性。第五、以水月觀音的造像為例,闡釋宗教美感經驗之救贖與修行的密切關係。最後點出,只有與諸神相遇的美感,才能感悟到那暫時駐留於形象之內的神聖之美的臨在。 |
英文摘要 | Religious art in form of picture and sculpture could be seen as a representational aesthetisation of religious experiences. Through the sense of beauty, experienced in beholding these artistic representations, the invisible trace of sacred world, which the religious art-works attempt to manifest, would shine itself in an eloquence f silence. The purpose of this essay is to investigate into the aesthetic meaning of Chinese Buddhist Icons and their artistic values, and thereby contribute to the aesthetics of religion. The first step of this paper is to exam the phenomenon of secularization of aesthetic experience in religious art, led especially by the demythologizing tendency of science and technology. It is equally pushed forward by theories of art such as formalism and structuralism, which claim that the beauty of art-works is based mainly on their form and structure. If the study of religious art ignores the symbolic power of sense of beauty which tends always to exceed the boundary of visible form and point to the invisible world, it will become inevitable that the art of religious images be secularized. The second step is to evaluate the aesthetic meaning of secularization in Chinese Buddhist art, such as Buddha's picture or Guanyin's image. The meaning of secularization does not consist in the fact of merging with the everyday life of common people, as some scholars would say, but rather in its consequence of delimiting richness of religious meaning within the established framework of rigid forms. The general tendency of secularization in Chinese Buddhist art transforms the myths and miracle tales prevailing among common people's faith into a new art form artistic appreciation imbued with religious meaning. The third step of this paper will focus on the relation between sense of beauty and sense of religiosity. The sense of beauty, going far beyond established forms, is looking for the trace of Being in the process of vanishing. A true artist, in creating a Buddhist painting, does the same thing a priest does in his worship and sacrifice in the temple. The image Wu Daozi painted on the wall of the Tian-gong temple was not an imitation of the visible world, but a magical creation by encountering with sacred spirit. The fourth step is to discuss the redemptive function of aesthetic experience. We will argue that the meaning of aesthetic redemption does not consist in, due to aesthetic pleasure, forgetting temporarily the sufferance of daily life, but rather in understanding the beauty as referring always to the Other, that will rescue us from indulging in the seemingly beauty of established world and its rigid forms. The final step is to discuss the relation between aesthetic redemption and practice of self-cultivation. Inspired by the sense of beauty released by Water-Moon Guanyin image, Avalokite-svara in Chinese style, Chinese Buddhist literati understood Avalokite-svara as practicing the way of Bodhisattva. They used Water-Moon (khasarpana) to symbolize the ture nature of all beings as emptiness (Sunyata). For Chinese literati, the beauty of Water-Moon Guanyin not only refers to the understanding of Truth, but also to spiritual freedom achieved by way of self-cultivation. We will conclude that only in encountering with the divine in the sense of beauty released by religious art that we can experience the presence of a sacred world all of a sudden in a visible form. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。