摘要
論文提要內容： 日本文化是跟據當地風土、民俗信仰、四季變化的風情，以及外來文化，形成了各個領域的基幹。再加上，美意識和無常觀的精神，日本文化成為日本人表達各種情感的產物。進入鎌倉時代後，禪宗代表了當時的精神文化，特別是對後世後代的思想上產生了深遠的影響。在室町時代，諸如能、武士道、茶道、華道、水墨畫等藝道似乎都是根基於禪宗思想上所發展和綻放的。 本論文旨在探討日本的花道文化。首先，在序論中，透過以往研究者們的研究成果，總覽日本中世社會現象，並導出花道文化的研究方向。在第一章中，探討日本花道文化的起源和形成過程，並揭示古代花道文化的時代變遷，可歸納出三個面向源自神道的花、佛教的供花以及世俗花卉的鑑賞與文學上所呈現出花的樣貌。在第二章中，以室町時代為中心，綜合考察了同朋衆的起源和其背景，深入探究同朋衆與武家政權的相關性。接著，根據當時的社會狀況，進而得知同朋衆的角色為唐物奉行。花在古代時被用作為髮飾，此外在宗教和文學中經常藉由花來表示其虔敬的心及人們的情緒抒發。此外我們得知在室町時代花的意涵逐漸轉向日常生活的藝術化。例如，有鬥花會、花座敷、花合等。在第三章中，考察日本藝道所蘊含的精神，接著揭示了茶人思想對花道文化的影響。對於茶人來說，在和室中所裝飾的花對周遭整體氣氛上會有所影響。隨後，探討了『池坊専應口傳』與佛教的關聯性。將焦點放在花傳書和悟道上，進而發現插花需要具備悟道或追求「道」的精神。並且對江戸時期的插花風格與技術進行相關的考察後，發現當時的花道不僅是理論，同時也產生許多流派。 最後對於前幾章的研究內容進行對照做出總結，透過探索日本的花道文化，因此能理解佛教教義如何融入日本人的日常生活，以及花道文化是如何展現出佛教精神的。花道文化不僅局限於插花的理論和技法上，進一步應關注其背後所蘊含的意義。本論文歸納出以下三點。第一點是，如同諺語所說的「年年歲歲花相似，歲歲年年人不同」一樣，花道文化帶有著禪宗的道理亦即諸行無常。第二點是佛教思想所產生的無常觀，這種思想在生活的實踐中，也可能藉由插花等行為來寮癒人類的心靈。第三點是在人生的道路上，對任何事物都應保持求道的心，莫忘初衷，盡其所能地一心一意貫徹始終。
並列摘要
Japanese culture is deeply rooted in the local climate, folk beliefs, seasonal changes, and influences from external cultures, serving as the foundation for various aspects of life. Moreover, imbued with a spirit of aesthetic awareness and impermanence, Japanese culture has evolved into a medium for expressing a multitude of emotions for its people. In the Kamakura period, Zen Buddhism played a pivotal role in shaping the spiritual culture of the era, significantly influencing the thoughts of subsequent generations. In the Muromachi period, various art forms such as Noh, Bushido, Tea Ceremony, Ikebana, and Sumi-e painting appeared to have developed and flourished based on the principles of Zen Buddhism. This thesis endeavors to delve into the intricate world of Ikebana (flower arranging) culture in Japan. The introduction provides an overview of medieval Japanese societal phenomena, drawing from the findings of previous scholars to establish the research direction for Ikebana culture. The first chapter explores the origins and evolution of Japanese Ikebana culture, unveiling the historical transformations categorized into three dimensions: flowers rooted in Shinto, Buddhist flower offerings, and the appreciation and representation of secular flowers in literature. The second chapter, centered on the Muromachi period, thoroughly examines the origins of Doboshu and its contextual background, delving into its relevance to the political power of the samurai. Against the backdrop of societal conditions, Doboshu is identified as practitioners of Tang artifacts. Flowers, in ancient times, served as hair ornaments and symbols of reverence and emotional expression in religion and literature. The chapter further reveals the shift in the meaning of flowers during the Muromachi period towards the artistic aspects of everyday life, including activities like floral competitions and flower arrangement gatherings. In the third chapter, the inherent spirituality in Japanese art forms is scrutinized, followed by an exploration of the impact of the tea master's philosophy on Ikebana culture. For tea practitioners, the flowers arranged in the tea room significantly influence the overall atmosphere. Subsequently, the relationship between "Ikebana Senyoshokuden" and Buddhism is examined, revealing that flower arranging requires a spiritual pursuit of enlightenment or the pursuit of "Dao." Following an investigation into the styles and techniques of flower arranging in the Edo period, it becomes evident that Ikebana was not merely theoretical but also gave rise to numerous schools. In conclusion, a comparative summary of the research content from the preceding chapters underscores how the exploration of Ikebana culture in Japan allows for a deeper understanding of how Buddhist teachings seamlessly integrate into the daily lives of the Japanese people and how Ikebana culture serves as a manifestation of Buddhist spirituality. Ikebana culture transcends the realms of theory and technique in flower arranging; it should also be appreciated for the profound meaning it encapsulates. This thesis culminates in three key points. Firstly, echoing the proverb "Every year, the flowers look the same, but every year, people are different," Ikebana culture embodies the Zen principle of impermanence. Secondly, the impermanence view derived from Buddhist philosophy may, in practical life, contribute to healing the human mind through activities such as flower arranging. Thirdly, in life's journey, maintaining a spirit of seeking anything, while not forgetting the original intention, should be pursued wholeheartedly.