臺灣博碩士論文加值系統

摘 要

一顆埋藏很久的心不斷「狂想」：勇敢挑戰自己！為自己圓夢！於是，下定決心選擇創作，那一刻，心境是「心花怒放」的。埋在心中這一股想飛的情懷，借用「蓮華」來述說…………！
起心動念，說明因為「緣起、無常、解脫、釋放、交集」等「因緣」，而引起了蓮華妙境的創作動機，與創作目的！深信人生旅程，凡走過必留下痕跡。是順境也好，是逆境也罷，起落過程中的點點滴滴，全都實實在在刻印在歲月畫簿裡。
軌跡，紀錄著從小到大的學畫「過程」。人欲追尋歲月足跡源頭，或欲探索未來夢想，全得踏尋過去軌跡。
妙法蓮華，是為理出每一創作與佛教的「關係」，並追尋與個人「蓮華妙境」創作相關的「妙法」譬喻，甚至更積極、更深入探索，佛門蓮華意義，以及佛與蓮華關係、還有妙法與蓮華關係……等等。唐代大珠慧海大師說：「蓮華不只能莊嚴世界，更具體而微地展現佛陀的教法。」是的，細細思量，蓮華從含苞待放、燦爛綻放、到枯萎凋謝，確實好比人生旅程。雖然空花水月亦虛幻，但蓮華以其特性，讓佛教在說法時引為譬喻，而能解說無礙，理事圓融。若以佛法觀點來看，蓮華每一回的花開花謝，正是人生旅程最佳寫照。花開花謝因緣、不執著及無我無私開放、無執無戀凋謝，甚至任霜雪侵襲、刀剪摧折，仍然靜默堅忍、無怨無尤綻放；這是何等高尚堅強的情操！人當以蓮華為師，「心田不長無明草，覺苑常開智慧花」，將自己的心田點綴得更美、更善、更真！讓自己心中那一方蓮華，不只莊嚴世界，更具體而微地學習佛陀妙法，徹底體悟妙法及其清淨難得。
歷史蓮華，「見證」了蓮華形象和特質，早就吸引文人墨客、畫家的喜愛和欣賞。自古許多畫家以各自的寫法，呈現不同風貌蓮華。今日欣賞前人經驗，當能促使創作更精彩。因為每個人觀蓮後的心境、寫法各有特別，若是能以前人經驗為基石、加上個人獨特風格，作出令人動容，又能表現自己之佳作，應該是必然的。
蓮華妙境故事，每一系列的每一作品，都有一個令創作者難以忘懷的故事。借著蓮華訴說或悲、或喜、或傷的「人生故事」；因為蓮華夏天綻放，越經酷熱的煎熬、污泥的浸澤，越是芬芳茂盛。人生百味雜陳，唯有經得起酸甜苦辣，受得住榮辱得失，才能反敗為勝，轉逆境為順境。人應學習做一朵蓮華，讓人欣賞，給人芬芳、喜悅和希望。從某一角度觀察發現，人生「處處無常」；換個角度看又似乎「因緣俱足」。智慧善斷每一逆境，事過境遷回首來時路，原來逆境、順境全在一念間。此次創作，以水墨蓮華來呈現個人生命歷程中的所有驚嘆！首先以蓮華妙境代表個人的幾個重要生命歷程，春荷述說童年往事，夏蓮描述燦爛年華，秋蓮述說歷經無常摧殘後的頓悟，冬荷代表的是年華老去的價值。
精進求智慧，是整個創作過程得到的「結論」。機緣成熟，智慧初長，明白過去已成虛幻，未來尚是夢想，把握當下最重要。唯有體驗了艱苦的境遇，才會激勵出精進心，過去ㄧ段段不堪回首往事，是智慧成長的助力，更是開啟智慧的妙境！而「妙境」是否為「妙境」，則全在一念間。

ABSTRACT

I’ve been dreaming big, hoping to carry out my dream to “dare to push the limits”. And when I finally decided to dedicate myself to creative painting, I was filled with joy. My determination to “fly high” will be best depicted by the stories of lotus.

My inspiration is how “causes” like “origins, impermanence, liberation, free, crossing” have inspired the creation of The Stories of Lotus and have helped in defining the objectives of the creation. I firmly believe that every passes through the journey of life must leave behind the trace, no matter if it’s through prosperity or adversity. Every one of the ups and downs in the process will be accurately recorded in life.

The course of learning how to paint starting from my childhood has left behind traces in my life. I believe that no matter if we are to look back to find the origin or to set forth on the adventurous path to our goals, we need traces as our guidance.

The connections between each of my creative works and Buddhism can be reasoned by Lotus Sutra. These works are meant for pursuing similes between my personal “lotus sutra” and the real Sutra, as well as the more proactive, more thorough study of the meaning of the significance of lotus in Buddhism, what the lotus is to Buddhism, what the lotus is to the Sutra and so on. A great monk in the Tang Dynasty once said that “The lotus not only adds solemnness to the world, but also demonstrate what the Buddha has to sermonize to the world in a small yet complete way.” How true it is. Having contemplating, from buds to bursts and from blossoming to withering away, the lotus is indeed likened to a life’s journey. Although the beauty of flowers never lasts, the lotus, given its characteristics, is often used in metaphors in the Buddhism preaching in order for the most adequate and thorough comprehension. From the Buddhism perspectives, the budding and withering of lotus best depict the journey of life: it buds and withers as Karma calls; it lets go; it grows and blossoms for others and not itself; it withers away without lingering; even if it’s in a severe winter or strong storm or if it’s been devastates and ruined, it suffers all the torturing and blossoms without complaints. The nobleness is admirable! And we ought to learn from the lotus to “leave all the vexation out of the mind and grow wisdom”, and embellish our minds to be more beautiful, more virtuous and truer. And so the lotus in mind will not only adds to the solemnness to the world but also helps you to learn the Sutra in a subtle yet complete way, to finally grasp the Sutra and achieve the tranquil status of life.

The numerous creative works using the lotus as the subject has “witnessed” that facts that the figures and characteristics of the lotus have long been the inspiration of scholars, poets and artists. Many artists have presented the elegance and grace of the lotus in their unique ways. Appreciation of those previous works surely will help to add to the fineness of my works since every individual feels and paints about the lotus in his unique way, and my own observation and touch of the lotus, plus the references of the previous works of the same subject, will result in touching works that reflect my own very style.

Every piece of my works in each serious of The Story of Lotus has had a memorable story behind it, and these “stories of life” – some sad, some joyful and others sorrowful, are all depicted in the forms of the lotus. The lotus grows in summer and, the hotter weather it endures and the filthier the soil is, the more it blossoms. This characteristic so much resembles one’s experience in the real life. There are prosperities or adversities in life and only if one can survive through the ups and downs and graces and disgraces, one can turn defeats into victories. The lotus can be our role model who offers beauty for admirations while offering sweetness, joy and hope. Life is ever-changing from every perspective. And life can be seen to be full of “causes” too. Overcome every obstacle using one’s wisdom. While looking back, you’ll realize that prosperity and adversity is really how you look at it. This time, I made up my mind to adopt water and ink painting to portrait the splendid lotus to present all the wonders I’ve encountered in my life, staring with a few stories of the lotus to represent several important personal progresses: the spring lotus is created to represent my childhood stories; the summer lotus my splendid youth; the autumn lotus my grasp after experiencing devastations brought by the fact that life is ever-changing; and the winter lotus the merits when I’m aged.

Constantly striving for more wisdom is a conclusion I’ve drawn after the whole creative process. When I grabbed the opportunity to first grow my wisdom, I came to realized that what passed is in the past, the future are yet unrealized dreams and there’s nothing more important than to live the moment. Only through hardships can initiatives be made. All those unbearable pasts help for one’s wisdom to grow and will leave one to the “wonderland.” And it’s all in one’s mind to make a real “wonderland.”

目 次
第一章　創作動機與目的
第一節　緣起……………………………………………………………………1
第二節　無常人生………………………………………………………………3
第三節　解脫、釋放……………………………………………………………4
第四節　交集……………………………………………………………………6
第二章　創作歷程與發展
第一節　初始……………………………………………………………………８
第二節　蓮緣……………………………………………………………………９
第三節　沉潛……………………………………………………………………10　
第四節　善知識…………………………………………………………………12
第五節　圓夢……………………………………………………………………13
第三章　妙法蓮華
第一節　佛教蓮華意義…………………………………………………………18
第二節　佛陀與蓮華的故事……………………………………………………21
第三節　妙法與蓮華……………………………………………………………23
第四節　眾生與蓮華……………………………………………………………26
第五節 西方淨土與蓮華………………………………………………………27
第四章 　歷史「蓮華」
第一節 荷畫發展………………………………………………………………30
第二節 畫派與名家……………………………………………………………43
第三節 歷史荷畫風格…………………………………………………………50
第五章 　蓮華妙境故事
第一節　西方淨土系列…………………………………………………………68
第二節　蓮華妙境系列…………………………………………………………73
第三節　新荷系列………………………………………………………………83
第四節　無常逆境系列 …………………………………………………………95
第五節　自在圓滿系列 ……………………………………………………… 101
第六節　解脫系列　　………………………………………………………… 111
第六章 結語
第一節　精進求智慧 …………………………………………………………119
第二節　荷畫發展史中的省思…………………………………………………120
第三節　展望未來………………………………………………………………122

參考書目
一、中文書目
1、白取春彥（1993譯者林春煌）《法華經入門》台北：牛頓出版有限公司。
2、何恭上（2001）。《荷之藝》。台北：藝術圖書公司。
3、何恭上（2004）。《畫荷花》。台北：藝術圖書公司。
4、妙境長老。美國法雲禪寺「妙法蓮華經」講稿。
5、妙境長老（2002）。《好自端嚴》 。美國法雲寺禪學院文宣編輯室。
6、法鼓山農禪寺 聖嚴法師法語。
7、林秀薇（1985）。《野逸畫派》。台北：藝術圖書公司。
8、星雲大師論文集－佛教與花的因緣 2002/11月普門學報第十二期。
9、宣化上人（2006）。《珍惜》。台北：法界佛教總會中文出版部。
10、奚松（2004）。《三十三堂札記》。台北：雄獅圖書股份有限公司。
11、徐改 編著 （2001）。《中國名畫家全集2》。台北：藝術家出版社。
12、張靜茹 佛教文化漫談。網海蓮舟－佛教文化網路半月刊，試刊號。
13、許禮平（1990）。《名家翰墨7》。香港：翰墨軒出版有限公司。
14、崔慶忠（2003）。《圖說中國繪畫史》。台北：揚智文化事業有限公司。
15、黃昌惠（1979）。《花鳥畫法》。台北：藝術圖書公司。
16、黃光男（1986）。《元代花鳥畫新風貌之研究》。高雄：復文圖書出版。
17、楊新 班宗華等（1999）。《中國繪畫三千年》。台北：聯經出版 。
18、詹前裕（1988）。《彩繪花鳥》。台北：藝術圖書公司。
19、曉雲導師宣講（2007）。《妙行安樂》。台北：原泉出版社。
20、釋常諄（1995）。《荷緣》。台北：沈氏藝術印刷股份有限公司。
21、詹前裕（1986）。《中國水墨畫》。台北：藝術圖書公司。


二、網路書目：中華電子佛典協會（ChineseBuddhist Electronic Text Association, 簡稱 CBETA）的電子佛典系列，引用出處的紀錄（例如：T30, no. 1579, p. 517, b6~17）是表示冊數、經號、頁數、欄數、行數。
1、姚秦 鳩摩羅什譯 《佛說阿彌陀經》 寶積部類,淨土宗類寶積部下T12n0366_p0347a04(03)
2、宋 法護譯 《佛說如來不思議祕密大乘經》 寶積部類寶積部上
T11n0312_p0735a02(00)　
3、唐 法藏述 《華嚴經探玄記》 華嚴部類經疏部三 T35n1733_p0163a19(00)
4、隋 智顗說 《妙法蓮華經玄義》 法華部類經疏部一CBETA
T33n1716_p0681c29(00)
5、東晉 佛馱跋陀羅譯 《大方廣佛華嚴經》 華嚴部類華嚴部
T09n0278_p0488c08
6、唐 菩提流志譯 《大寶積經》 寶積部類寶積部上
T11n0310_p0077c23(02)
7、失譯 《摩訶衍寶嚴經》 寶積部類寶積部下
T12n0351_p0197a03(09)
8、曹魏 康僧鎧譯 《無量壽經》 寶積部類,淨土宗類寶積部下 T12n0360_p0272a18(02)
9、宋 [彊-弓]良耶舍譯 《觀無量壽經》 寶積部類,淨土宗類寶積部
T12n0365_p0342b16(02)
10、東晉 佛馱跋陀羅譯 《華嚴經》 華嚴部類華嚴部上
T09n0278_p0408a03(03)
11、姚秦 鳩摩羅什譯《妙法蓮華經》＜藥王菩薩本事品＞
T09n0262_p0054b02(02）。
12、唐 王勃撰 《釋迦如來成道記》 史傳部類史傳部
X75n1508_p0001a02(00)。
13、宋 法護等譯《大乘寶要議論》 論集部類論集部全 T32n1635_p0050a08(04)。
14、東晉 瞿曇僧伽提婆譯 《中阿含經》 阿含部類阿含部上 T01n0026_p0575a04(02)。
15、唐 道世撰 《法苑珠林》 事彙部類事彙部上
T53n2122_p0572b04(00)。
16、失譯 《那先比丘經》 論集部類論集部全
T32n1670Ap0702b22(01)。
17、姚秦 鳩摩羅什譯 《梵網經》律部類律部三
T24n1484_p0997b15(31)。
18、宋法護等譯 《除蓋障菩薩所問經》 經集部類經集部一 T14n0489_p0726c22(05)。
19、網站：報佛恩網（大勢至菩薩念佛圓通章）。