潛行密用—吳權展白描佛釋人物畫創作論述

筆者藉由水墨白描手法，對童年記憶與專業學院教育有關的佛釋人物進行探索。藉著佛教原典及佛教藝術圖像學的爬梳，筆者選取了熟悉的三大士、韋馱菩薩、四大天王、四大菩薩、十八羅漢等主題進行發想，同時以中國歷代及台灣本土的佛畫作品進行對照，完成了五大件主題、共計三十張佛釋人物畫創作。筆者的創作歷經了「調伏、安心、放心、定心」的歷程，觀者雖然只能看到最後具象的佛釋人物造型，但是也可以觀察到筆者線條逐漸成熟、造型日益細緻的細微變化，而體會出筆者在創作心態上的改變。筆者堅持以「勤勤懇懇、老老實實」的態度進行創作，虔信佛釋人物的造型之美脫胎於「求真、求善、求美」的普世價值。本論文的敘寫架構及論述推展如下，第一章緒論：說明本論文的研究動機與目的、創作範圍與限制、研究方法與名詞解釋。第二章文獻探討：以佛教圖像學的文獻為主軸，輔以佛教原典及宗教藝術作品，以了解筆者創作開展的可能性。第三章創作理念與實踐：討論筆者的主題選定、媒材運用、技法運用與風格演變。第四章作品解析：對筆者的創作進行表現說明及理念論述。第五章結論：針對筆者的整個研究思路與創作歷程進行檢討，並省思未來發展的可能方向。在乍看只有「黑」與「白」的線條中，筆者建構了個人心靈的靜謐空間，同時也呼應歷代藝術家創作宗教藝術的美學思維，以「普渡眾生」的宗教情懷，將創作的紙上人物與觀者進行了心靈的連結。「潛行密用」的實踐方式，於筆者，不只是現階段的創作態度，也會是筆者這輩子用功的基準。

關鍵字

白描；中國傳統水墨畫；佛教藝術與佛教圖像學；菩薩；羅漢；游絲描

並列摘要

By using the outline linear drawing technique of the traditional Chinese ink paintings, the artist explored the religious figures which were based on his own childhood memories of local shrines and temples and his art education of the academy of fine arts. Through the study of Buddhist sutras and Buddhist Iconography, the artist was inspired by the following 5 subjects for his creation: Three Bodhisattvas, Skanda Wei-Tuo bodhisattva, Four Heavenly Kings and Guardians of the World, Four great Bodhisattvas in Chinese Buddhism and Eighteen Arhats. Also, the artist made a comparative study between his own creation and the Buddhist paintings in the Chinese art history and Taiwan local artists. By keeping a low-profile attitude, the artist overcame challenge and stress to create a series of 30 Chinese ink paintings which depicted the 5 subjects in Buddhist art. The artist went through the process of taming the mind, calming the mind, relaxing the mind, and concentrating the mind. The viewers not only can see the Buddhist figures on paper, but also can read the rich and subtle meanings expressed by the mature outline linear drawing techniques. “As patience is to diligence, so courage is to honesty.”, the proverb was what the artist’s belief toward his art production. To pursuit the higher quality of the beauty of the religious characters, the artist also combined his observation of the “truth, goodness and beauty” in his quest of the art production. The thesis consists five chapters. The first chapter introduced the background for the choice of theme, define the scope of the thesis, and the schematic outline of the research procedure. The second chapter provided the result of the literature review and document analysis based on the study of the Buddhist sutras and Buddhist Iconography. The third chapter discussed the method to carry out the artist’s conceptual and practical innovation of his art production. The fourth chapter analyzed and discussed the artist’s collection of art works from the viewpoints of aesthetics and Buddhist Iconography. The final chapter concluded the artist’s findings and of the current project and pointed out the possible developments of the artist creation. While the traditional Chinese ink painting style created only a space of “Black-and-White Abstract Art”, the artist successfully constructed his quiet inner world, which echo the greatness of the mind of the religious artists in the history timeline. The artist had the compassionate concern for all sentient beings far and wide, therefore, for all those viewers who read carefully between the lines of his religious figures and would like to learn more, the artist was more than happy to help the viewers break the barriers of doubts and connect them to the appreciation of the beauty in the Buddhist art. “Study hard and work hard, then keep a low profile.” is the thinking for the artist to align with his pursuit of art and darma. This thinking will not only nourish the artist, but also touch along his path to the enlightenment.