Glitters brillantly at all times-to discuss the beauty of Buddha drawings from the Dunhuang Frescoes Art

• Main Authors: Lin Wei Shiuan, 林微萱
• Other Authors: Shen I Cheng
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/24934161324941724185

碩士 === 中國文化大學 === 藝術研究所美術組碩士在職專班 === 91 === In terms of the creative and research range of this thesis ,the topical subjects of Buddha figure are: (1) Sakyamuni Buddha, (2) Avalokiteshvara, Avalokiteshvara is divided into Sung Tze Bodhisattva, Chu-Lin (bamboo forest) Guanyin Bodhisattva, Ekadawa Mukha Bodhisattva, Lian-Chih Bodhisattva and etc. (3) Bodhisattva, Bodhisattva is also divided into Ksitigarbha, Kung Yang Bodhisattva. There are also other drawings such as Four Deva Raja, Archer, Arhat, celestials flying in the sky when Sakyamuni Buddha expounds Buddhist Sutras, music playing and dancing, and etc. Each dravmig is handled through modern ink painting technique and combined with natural scenery, flowers and plants, patterns, drawings of Han Dynasty drawn on bricks, the space time of present day, city, rapid transit system as the background, mutual interlock of ancient and modern in one drawing to represent each kind of transformation and connect the famous drawings of Chinese and Western to endow a new life to the Buddha drawings. Our foundation consists of the creative principles "describing spirit through form", "to move thought for miraculous attainment" ' and "outwardly the master creates Changes, inwardly he gains the source of Mind".Furthermore, through realistic representation, and using the refined techniques of aesthetification, simplification, distortion, and repetition, we will both increase the interest and enjoyment involved in the appreciation of beauty and also elevate the artistic purity of Buddha paintings. In so doing, we may both realize the dictums "spirit and form are both completely presented" and there is a representation of the essence of the thing in the artistry of the drawing" and also destroy the biased notion that traditional Chinese fine line("artisan'sbrush" or kungpi/gongbi) paintings seem stiff. This painter's creative method is first to receive and continue the principles and techniques of fine line Buddha painters of the past and then to strengthen the expressiveness of light and shadow. In his creation, this painter will also make a rational composition both formally and spatially of images of concrete objects (chuhsiang/juxiang), significant imagery ("idea images" or ihsiang/yixiang), and abstract images ( "with the representational images drawn out" or chouhsiang/chouxiang ) . The purpose here is to reflect both the rich variety of the world Inhabited by the modern spirit and also the harmony and beauty of ideals and their realization. This painter will break away from fine line Buddha paintings of the past; by blending the painting rules and ideals both East and West, we have the expectation of displaying a modern sensibility and a unique world-view.