達摩造像與禪藝之研究

A Study on Fabrication of Dharma Statues and the Arts of Zen

黃明慧(Ming-hui Huang)

指導教授 ： 阮昌銳

國立臺北藝術大學/文化資源學院/傳統藝術研究所/碩士(2008年)

https://doi.org/10.6835/TNUA.2008.00063

摘要

本論文以將禪信仰帶至中國的禪宗初祖達摩為對象。雖達摩是佛教禪宗信仰的代表人物，但隨著時代與創作元素、技巧的不斷更替，在田調過程中，筆者發現達摩造像有多樣的表現。
本文的研究方法以文獻和田野搜查兩個面向為主，文獻考證方面，從佛教禪宗史及禪宗美學等方面的書中，理出禪信仰的源流及禪意念的特質，再者，從既有達摩圖像的相關論述中，找出創作達摩的動機與理念；另一方面，從田調蒐羅到的達摩造像式樣，進而對廟方人士、製作者、蒐藏者進行訪談，從他們對達摩的認知，進而建構出達摩造像整體的象徵意義及其塑型的若干概念。
透過造像的象徵意涵和傳統工藝的審美意識，並透過實際的田野調查，勾勒出臺灣達摩造像的圖像意涵，並做一總體的論述。因而本論文從臺灣達摩信仰的發展形式中，分析達摩崇信模式的轉化、與其多種不同角色的形成因素。接著透過中國歷代文人畫家，所繪在中國被渲染出傳奇故事的歷代達摩圖像畫作，從中指出禪藝特徵，藉以闡明禪藝的美學特質；並以日治時期前後有達摩作品問世的藝僧及居家修士為例，概觀臺灣禪藝的歷史背景。
最後透過信仰與傳統工藝製作的達摩造像，來討論達摩禪與傳統信仰的交互影響下，達摩神像的造型變化；由於傳統工藝本身具有與民間信仰體系關係密切的特色；故藉著臺灣傳統匠師的達摩造像作品中，從造像風格中可以，看出禪藝的端倪，並定位出具獨特性的禪藝符號，一型以傳統佛教概念的端正坐姿，手勢呈禪定印貌；另一型則以傳說故事中武姿的形象展現，更有只創作頭部造像的作品。
從達摩造像的信仰內涵、形式風格及裝飾形式的表現，反應出人們自覺與不自覺間受禪意濡化後，不管是以何種形式來表現、面對「達摩」此一圖騰，均呈現出「禪意」與「傳藝」結合，形成的禪藝風格。

關鍵字

禪藝 ； 達摩 ； 民間信仰 ； 禪宗 ； 傳統工藝

並列摘要

This paper will focus on Darma, the Chinese Zen founder who brought Zen belief into China. Darma is a representative of Buddhism Zen belief; yet, the author discovered in field investigation that changing times and continuous updated art elements and skills have given Darma statue a diverse expression of display.
Research method of this study is mainly based on literature review and field investigation. In literature review, from the books of Buddhism Zen history and Zen aesthetics, we organize the source of Zen belief and characteristics of Zen ideas; moreover, we look for the motivation and reasons to create Darma in artwork from the existed discussion concerning Darma image. On the other hand, by observing style of Darma statue collected from field investigation and the interviews with staffs in Buddhism temple, art craftsmen and collectors, we have an opportunity to construct the symbolic meaning of Darma statue and numerous concepts concerning statue types.
By understanding symbolic meaning of statue and appreciating folkarts, we work on field investigation and outline an image meaning of Taiwan Darma statue for an overall discussion of this subject. Hence, this paper will analyze the transformation of Darma worship and the reasons that various roles it plays from the development of Taiwan Darma belief. Next, we will focus on Chinese literati painters in the past dynasties; from the legendary stories exaggerated from Darma image painting in China, we will indicate features of Zen art to interpret the aesthetic traits of Zen. We will also take examples of the art monk and un-renounced monk who had Darma artworks presented in public during the period of Japanese governed era in order to have a general observation of the historical background of Taiwanese Zen art.
Finally, by reviewing Darma statue made from belief and folkarts, we intend to discuss the changing style of Darma statue under the influence of Darma Zen and traditional belief. Due to the inseparable closeness between folkarts and folk belief system, by observing the Darma statue artwork by Taiwanese traditional craftsmen, we may find the clues of Zen art and locate the unique Zen art symbols. One of the styles is a proper sitting position with hand gesture of meditation and appearance, which is from traditional Buddhism concept; the other type is a figure display of martial art posture from legendary story, and some of them are statue artworks with head-only.
From the belief context, style, and decoration of Darma statue, we found people who are under the influences of Zen belief, consciously and unconsciously, present the totem “Darma” with a combination of “Zen belief” and “traditional art”, which becomes a style of Zen art.

並列關鍵字

Zen Arts ； Dharma ； Folk belief ； Zen ； Folkart

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