豐子愷《護生畫集》之研究

豐子愷是五四新文化運動以後，在繪畫、文學、音樂、翻譯、書法等領域裡，都有著耀眼成果的一位知識分子。其師李叔同也是中國近代史上有名的藝術家，在書法、戲劇、音樂、繪畫等方面也有相當的成就，而豐子愷的藝術思想也深受李叔同的影響，甚至在三十歲時，受李叔同啟發開始創作《護生畫集》。　　《護生畫集》第一集到第六集的創作長達五十年之久，是豐子愷相當重要的一部畫集，雖然說《護生畫集》跟宗教理念有不可分離的關係，但本篇論文希望將重點放在藝術的層面上來探討，以豐子愷自己說的話及理論來整理出他的繪畫觀及分類，並用《護生畫集》加以應證。　　本篇論文先整理出豐子愷對於中國傳統繪畫的看法及改變，並以《護生畫集》裡所展現的中國畫特色，來探討豐子愷對中國傳統繪畫的承襲。而後在從豐子愷的漫畫觀及漫畫分類來釐清他的漫畫思維，並且從《護生畫集》中的作品來驗證他自己的理論及漫畫呈現方式。最後在以《護生畫集》一到六集的風格，來嘗試分析出豐子愷五十年間藝術思維的轉變。

關鍵字

豐子愷；漫畫；《護生畫集》

並列摘要

It took Feng Zikai nearly 50 years to create his book called the “Protection for Living Beings” that consisted of 6 volumes. The book is sought after to be one of the most important pieces of work done by Feng Zikai. Although his book appears to be inseparable with religion texts, this paper will emphasize on the aspect of art, and will organize and categorize his points of view regarding art, based on his theories and teachings. 　　This paper will outline Feng Zikai’s insights on the change of traditional Chinese art/painting, and discuss Feng ZIkai’s inheritance style of traditional Chinese art shown in his book. The paper will also elaborate on Feng Zikai’s thoughts and point of view in his artistic drawings and illustrations shown in his book and discuss them in different categories. Furthermore, the paper will discuss Feng Zikai’s works in the book to prove his theories as well as the way he displayed his artistic drawings and the meaning behind them. Finally, this paper will analyze the art style from Volume 1 to 6 to take a glance at Feng’s changes on artistic mindset during these 50 years of creating this book.