從山林走出探看獅情畫蘊－李再儀的水墨創作論述

從山林走出的探看，衍生為獅情畫蘊的創作，緣起童年對石獅的記憶－探獅、畫獅；藝匠「造物取象」後，石獅如何成為守護、辟邪、祈福的瑞獸。其演化歷程、文化意涵、風格，如何成為創作的題材與「石獅雕刻之美」的深刻藝術內涵。此乃為本文由山林出發，以石獅為探看、創作的方向。　　約二千年前，第一隻獅子進貢中國開始，獅子便被神格化：「初名稱狻猊，生有雙翼，具金眸玉爪，獨步無畏，威凜震懾，能伏一切」是群獸駭驚的「猛獸」。魏晉時佛教東傳，「助佛轉輪，作獅子吼」，演化為「菩薩騎乘」之護法「神獸」，唐代為極盛期，為皇族鎮墓「石獸」；宋始流入民間。定型為「瑞獸」，至明清則普及廣泛。且風格有南北之分。　　本文論述第一章緒論敍述石獅的發展沿革與功用，與虎文化、龍文化並列為我國文化的載體，研究的目地、動機、方法和創作理念等。第二章探討獅子來自山林，在東西方的象徵意涵與演變。第三、四章例舉我國歷代及臺灣石獅的發展演變，並加上自繪圗像、表格以詳盡說明石獅的風貌和藝術特色。第五章個人創作解析，分為石獅、與山林兩大系列；加以創作理念、技法的說明。第六章結論，說明石獅與繪畫藝術的轉化及個人研究石獅的心得與期許。　　臺灣「獅文化」，承襲明末之移民閩、粵文化、紮根傳統雕藝，並融合日本狛犬、北方獅形制圖象，常見民間廟宇，具祈福納吉寓意，與台澎金馬泥塑彩獅等，風貌多元，近年金門風獅爺的陸續出土，更成為寶貴的文化資產。　　藝術來自生活，石獅象徵一種精神力量；探看石獅與之對話；為山林連結獅情創作之初衷。

關鍵字

山林；探看；石獅；辟邪；水墨創作

並列摘要

The exploration from the mountains and forests was derived into the creation of lion love painting Yun, which originated from childhood memories of stone lions - exploring lions and painting lions; after the artisan "created objects and images", how did stone lions become auspicious beasts that guard, ward off evil spirits, and pray for good fortune. How did its evolutionary history, cultural connotation, and style become the subject matter of creation and connect with the profound artistic connotation of "The Beauty of Stone Lion Sculpture"。This is the starting point of this article from the mountains and forests, with stone lions as the direction of exploration and creation. 　About 2,000 years ago, when the first lion was sent to China, the lion was deified: "The first name was Suan,born with wings, golden eyes and jade claws, fearless, majestic and awe-inspiring, capable of subduing everything." The terrifying "Beast". During the Wei and Jin Dynasties, Buddhism spread eastward, "helping the Buddha to turn the wheel and making a lion's roar", which evolved into a "sacred beast" for the "Bodhisattva riding". It was stereotyped as "auspicious animal", and it became widespread in the Ming and Qing dynasties.And the style is divided into north and south. 　This article discusses the first chapter, the introduction, which describes the development and function of the stone lion, which, together with the tiger culture and the dragon culture, is listed as the carrier of Chinese culture, and the purpose, motivation, method and creative concept of the research. The second chapter discusses the symbolic meaning and evolution of lions from mountains and forests in the East and the West. Chapters 3 and 4 illustrate the development and evolution of stone lions in my country and Taiwan in past dynasties, and add self-painted statues and tables to illustrate the style and artistic characteristics of stone lions in detail. The fifth chapter is the analysis of personal creation, which is divided into two series: stone lion and mountain forest; The sixth chapter concludes, explaining the transformation of stone lions and painting art, and the experience and expectation of personal research on stone lions. 　Taiwan's "Lion Culture" inherits the immigrant Fujian and Cantonese cultures in the late Ming Dynasty, and takes root in traditional carving arts, and integrates Japanese komaru dogs and northern lion images. In recent years, the wind lion gods of Kinmen have been unearthed one after another, which hasbecome a valuable cultural asset. 　Art comes from life, and the stone lion symbolizes a kind of spiritual power; visiting the stone lion to talkwith it; the original intention of creating a connection between the mountains and the forest.