不「知」不「覺」，淺析中國佛像畫展示的傳播觀念－以夏荊山中國佛像畫為例

中國佛像畫，既是宗教藝術，也是繪畫藝術。宗教文化和中國繪畫藝術既能夠完美共存於一個藝術表現形式中歷久不衰，引無數的賢能畫略之才傾情於這項事業，定有其亙古不變精神魅力。展覽中國佛像畫，陳列（display）容易，展示（exhibit）不容易；觀看容易，知覺不容易，傳播的觀念決定傳播的效能。策展，就是要把中國佛像畫長久的淵源脈絡與畫家畢生執著的創作歷程和心血傑作，這些無法剝離的線索巧妙的梳理在一個展覽空間，創造不知不覺的輕鬆知覺情境氛圍，把這些看似複雜的、悠長的、形而的哲理意涵，以深入淺出的理念翻譯成放諸四海而皆准的展示語言，無論是與知識淵博的學者學術交流，還是給樸實無華的普羅大眾休閒觀賞，讓“知”的人有“覺”；讓“不知”的人，先“知”後“覺”，每一幅畫作和每一位觀眾都值得尊重，在展域都應有真切的獲得感，“自覺，覺他，覺行圓滿無缺”。

關鍵字

佛像畫；展示；傳播；知覺

並列摘要

Chinese Buddha paintings are religious art and painting art. There must be the long-lasting spirit and charm that perfect combines religious culture and Chinese painting in this historical art form and attracts elites to devote themselves to this course. In terms of Chinese Buddha painting exhibitions, it is easy to display but not easy to exhibit; it is easy to be aware but not easy to be conscious. A communication concept determines its effectiveness. The purpose of exhibitions aims to present the long history of Chinese Buddha paintings and creation experiences and works of artists with attached context skillfully in an exhibition space to develop the atmosphere in relaxing way without any obvious awareness and consciousness. These philosophical concepts seem complicate, long-lasting, and metaphysical and they are then translated in exhibition languages that can communicate with viewers around the world including knowledgeable scholars who would engage in academic exchanges and the general public who engage in recreational activities. These exhibitions allow those who are ＂aware＂ to develop ＂consciousness＂ and those who are not ＂aware of＂ to develop ＂awareness＂ first. Each painting and each viewer deserve our respect and they shall obtain something from exhibitions. They shall become ＂aware and conscious to achieve fullness.＂

並列關鍵字

Buddhist paintings ； exhibition ； communication ； awareness and consciousness

國際替代計量

不「知」不「覺」，淺析中國佛像畫展示的傳播觀念－以夏荊山中國佛像畫為例

全文下載

主題瀏覽