寂寂淨境

THUIR > College of Fine Arts and Creative Design > Department of Fine Arts > Master's Theses > Item 310901/30918

Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/30918

Title:	寂寂淨境
Other Titles:	A state of silent、peace and quiet-Huang, Chien-Ling's creation of ink painting
Authors:	黃千玲 HUANG,CHIEN-LING
Contributors:	李思賢 LI,SAI-XIAN 美術學系
Keywords:	寂然
Date:	2018
Issue Date:	2018-11-07T06:29:22Z (UTC)
Abstract:	本文旨在探討具有寂然美學的創作心境與作品，其中結合自身的創作心理過程與作品脈絡，探討寂然對於藝術創作的意義以及筆者對寂然的生活實踐與創作。首先回溯自身創作心路歷程並爬梳整理過去之創作，發覺修行之重大影響，一直以來筆者執自我之生命精神進行創作，願創造一方身心安頓之寂然世界。同時檢視當下生命狀態，以「生活實踐者」自勵，並瞻望未來藝行路上無窮之境。再從風格的演變上探究此階段之作品面貌，因修行映照出創作中呈現寂然之境。接著進行文獻探討，包括：佛法中的心性寂然得以照見真如實相並悅於覺悟之法喜、唐詩裡的般若章詞、文學中的無我之境、澄懷觀道、侘寂美學。並論述這些理論對筆者之創作啟發，包括行止練心-生活即修行在生命中的落實、念佛定心-真為生死持佛名號、書寫凝心-當下一念心之掌握、觀山調心-澄懷觀道的落實、與讀典廣學。最末分別從損之又損-簡、淡乎其無味-澹、無聲勝有聲-韻、似而不似-神，這四個角度分析寂然之美學，並同時論述個人作品風格。 This thesis aims to discuss the state of mind and works with tranquil aesthetics, combining the author’s own state of mind during creative process with the spirit of the artwork, moreover, offering a further discussion on the juxtaposing meaning between tranquillity and creative process and the author’s practice both in life and in creative processes. When the author first found out, while reminiscing her own path of art making and combing through her past works, that her way of spiritual exercise has impacts on her art work. The author has always been focusing on creating art with her own spirit of life, wishing to create a world that brings tranquillity in both heart and soul while examining the current state of life, thus, hearten oneself as a life practitioner and look further to a path of art-creating that leads to eternity. With an initial understanding of the correlation of both the spirit and artworks, the author takes a second step to research on the changing of styles, a change where spiritual exercise has reflected on the tranquillity in artworks. The literature reviews in this thesis will support few points below: the joy achieved by realizing the one truth with the tranquillity that lies in Buddhism, the Mahaprajnaparamita Sutra in Tang poetry, the non-self , the serenity-borne clarity and the aesthetics of acceptance of transience and imperfection in literature. Inspired by the aforementioned theories and literature, the author theorizes the practises of heart–life as spiritual exercise, nianfo as a mean of focusing–to take the name of Buddha into his account and sacrificing both life and death, writing as a mean of concentrating–to grasp the state of mind in the moment, and looking at mountain as a mean of spirit adjusting–to practice the serenity-borne clarity and learn from the classics, with the conclusion of four-angled analysis on the aesthetics of tranquillity: simplicity, tranquillity, charm and spirit while theorizing the author’s own artwork.
Appears in Collections:	[Department of Fine Arts ] Master's Theses

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