本文選題：中日鑒藏 + 禪畫�。� 參考：《中央美術(shù)學院》2017年碩士論文

【摘要】：我國對禪畫的研究以臺灣地區(qū)為主,而大陸對于禪宗繪畫的研究,囿于歷史原因以及意識形態(tài)的影響,頗多偏頗、陳舊之處且多有常識性錯誤以及曲解,而且專著屈指可數(shù),是美術(shù)史學上的一大空缺。日本對禪畫的研究則是非常豐富,是日本之顯學。作為禪宗繪畫大師的梁楷的作品,在中日兩國的鑒藏審美之中都受到器重,但是兩國所藏的作品比較之下,判若兩人。正是兩國對禪畫迥然不同的審美趣味和鑒藏喜好造就了"兩個不同的梁楷"(高居翰語)。在禪畫興起的時候,它在中國文人士大夫之中沒有找到太多共鳴,卻被禪宗信仰的日本人士所喜愛,被日本來華僧人帶到日本,直接影響了日本水墨禪畫的形成和發(fā)展。在中國,禪宗繪畫和文人畫的分道揚鑣也造就了中日繪畫走向了兩種分歧的系統(tǒng)。本文想從禪宗繪畫大師梁楷入手,淺析中日對于禪宗繪畫的不同鑒藏與審美標準,并涉及到禪畫的精神本源禪宗。禪宗傳釋迦心印,得正眼法藏,以心印心,不立文字。并非"釋迦其表,莊周其里"這樣簡單的歸納與定義就可以解讀的。本文希望在談及禪宗思想時,或許能夠去意識形態(tài)化,還原禪宗的真正面目。在現(xiàn)代,日本與臺灣地區(qū)是研究禪畫的主要地區(qū),大陸對于禪畫仍欠缺研究整理。此外,中國畫的批評和鑒賞體系以文人畫體系為主,如果能夠在研究禪畫的同時,從另一個角度來研究中國畫,從多元化的價值體系來解讀禪畫,對中國畫的研究能夠添磚加瓦也是幸甚至哉。
[Abstract]:The study of Zen painting in China is mainly in Taiwan, while the study of Zen painting in mainland China is limited by historical reasons and ideological influence, which is quite biased, old and has many common sense mistakes and misinterpretations, and the monographs are few and far between. It is a great vacancy in art history. The study of Zen painting in Japan is very rich, and it is a prominent study in Japan. As a master of Zen painting, the works of Richard Liang are valued in the aesthetic of the two countries, but they are different in comparison with the works of the two countries. It is the different aesthetic taste and taste of Zen painting in the two countries that make up two different forms of Liang Kai (Gao Juhan's language). When Zen painting rose, it did not find much resonance among Chinese literati and bureaucrats, but was loved by Japanese people who believed in Zen, and was brought to Japan by Japanese monks who came to China, which directly affected the formation and development of Japanese wash and ink Zen paintings. In China, the separation of Zen painting and literati painting has made Chinese and Japanese painting move towards two different systems. This paper tries to analyze the differences between Chinese and Japanese Zen paintings and aesthetic standards from the perspective of Liang Kai, a master of Zen painting, and involves the spiritual origin of Zen painting. Zen biography of Sakya heart initiation, the right eyes to hide, heart initiation, no text. It is not such a simple induction and definition as "Sakya's Table, Zhuang Zhou" can be interpreted. This paper hopes that when talking about Zen thoughts, it may be possible to deideology and restore the true features of Zen Buddhism. In modern times, Japan and Taiwan are the main areas to study Zen painting. In addition, the system of criticism and appreciation of Chinese painting is dominated by the system of literati painting. If one can study Chinese painting from another angle while studying Zen painting, and interpret Zen painting from a diversified value system, It is even fortunate that the study of Chinese painting can contribute to the development of Chinese painting.
【學位授予單位】：中央美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212

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