中日禅宗墨迹研究

【作者】 韩天雍；

【导师】 欧阳中石；

【作者基本信息】 首都师范大学 ， 美术学， 2007， 博士

【摘要】 佛教是一种宗教,也是一种文化现象。而禅宗虽属佛教的一支,但它却是典型的中国式的佛教。禅宗有着丰富的文化内涵,影响着诸多领域,表现了强烈的民族文化特点。尤其在宋元时期,文人士大夫重视禅宗的“即心即佛”的心性论思想,钟情于山水,酷爱于书法,在从事精神文化的诗书画创作活动中,形成了中国文化的特质,这一特质也深深地影响着我国的近邻——日本,在经过漫长的历史传承与发展中,禅宗文化形态构成了日本民族文化的核心。在古代中日文化交流中,尤其是在中国宋、元与日本镰仓、室町时代的宗教交流往来中,中日高僧墨迹构成了中日文化关系的一个重要领域。将禅宗墨迹作为研究对象,借用比较学的研究方法对其传播者和接受者的代表性墨迹进行科学的认识,冷静的分析,以期对中日两国人民共同的文化遗产作出科学性和整体性的研究。本文除引言和结语之外,主要内容可以分为上、中、下三篇:上篇第一章:主要概述中日禅宗之源流及其禅宗宗旨,禅宗墨迹的含义及其界定,介绍禅宗墨迹的种类及其版本。第二章:主要研究和介绍宋元时期临济宗杨岐派系统的代表人物及其代表性墨迹作品。按宋元时代禅宗门派来划分,共有三大流派:即大慧宗杲派、破庵祖先派和松源崇岳派。并对禅宗墨迹的文本进行系统的疏理、考证。第三章:以中国禅林中最具影响的高僧赴日传法为主线,即宋代高僧兰溪道隆、无学祖元、一山一宁赴日传去临济宗的纯粹禅法和尚意书风,并移植宋代禅宗丛林制度及宋代理学。此外,兀庵普宁、大休正念、清拙正澄等元代禅僧赴日传法并带去元代大书法家赵孟頫、张即之等人的书风。第四章:对日本中世纪禅宗墨迹进行展开来加以论述。首先,围绕镰仓时代入宋僧荣西传临济宗、俊艿传律宗、道元传曹洞宗为中心进行研究,并通过墨迹及文献考证出鲜为人知的禅宗史实和中日禅僧师弟之间的友好情谊。其次,室町时代入元僧与元代禅师的交往。第三,则对日本五山禅僧的代表人物梦窗疏石、虎关师炼、宗峰妙超三位日本本土高僧的墨迹进行分析,并揭示日本民族文化的精神气质。中篇第一章:对与禅宗墨迹相关连的禅宗绘画进行介绍与研究,对禅宗绘画的内容进行界定,重点阐述宋代以牧溪、梁楷、马远、夏圭为代表的宫廷画家的“逸品画风”对禅宗水墨画的影响;元代隐逸为主题意涵的山水画对日本五山时代的“诗画轴”的形式表征及审美取向的巨大影响。第二章:着重研究与墨迹相关的日本文化部分。主要介绍茶室的名物,这些视为茶人最重要的墨迹,讲述着中日两国宗教领域之间的相互提携和师弟情谊。并对室町时代足利将军的中国文化情结进行综合分析与研究,并对他收藏与鉴赏宋元绘画、印章等门类进行概括与总结。下篇禅宗艺术综论,分别论述了禅宗传入日本的时代背景及顶相画、水墨画、诗画轴等与禅宗墨迹相关的艺术作品的审美特征。镰仓、室町时代的执政者对来自中国大陆的高僧厚礼款待,一方面希望用新兴的禅宗来代替旧宗教势力;另一方面禅宗所倡导的质朴寡欲的精神,正与镰仓武士重勤俭朴实的风气相吻合。到了宋代,“尚意”书风在中日高僧的墨迹中产生巨大影响的同时,也对日本书坛带来巨大的冲击。禅宗墨迹以不均整、简素、自然、脱俗为其主要性格特征。这与宋代尚意书家所提倡的超越、脱俗、新意、顿悟、不践古人、有法到无法等精神境界一脉相通。如果说日本镰仓时期的“凭证”肖像画与英雄崇拜主义的审美思想相关连的话,那么,室町时代的顶相画莫不如说是对祖师的崇敬更为贴切些,也与禅宗重视嫡传相承不无关系,它与付法证明的印可状、袈裟一并授予嗣法的继承者。以宋代梁楷和牧溪为代表的粗犷豪放的逸品画风,对日本禅宗水墨画产生重大影响,在中世禅林中,“道释人物画”成为禅画创作的母题。这种不具形似、逸笔草草的减笔画风,也迎合了禅僧及武士的趣味。室町时代的诗画轴山水作品,所体现的隐逸思想则是源于宋元文人画思潮的影响和启发,将诗书画印融为一体,笔意诗境相得益彰。所有这些,都极大地丰富了人类的文化遗产,同时也表明中国式的佛教文化具有极大的融合性、包容性和变通性,日本在接受这些新文化的同时,也表现出吸收外来文化的成熟与自觉。更多还原

【Abstract】 Buddhism is a religion as well as a cultural phenomenon. As a school of Buddhism, though, Zen is a typically Chinese school of Buddhism. With its abundant cultural connotation and influence on various fields, Zen represents a distinctive character of ethical culture. Especially during the Song and Yuan Dynasty, literati and scholar-officials attached great importance to moment-by-moment awareness and to the theory of mind-nature. Reveling in calligraphy and landscape, they have formed the characteristics of Chinese culture by their creating of poems, calligraphies and paintings, which deeply affected our neighboring country, Japan. After a long time of absorbing and developing, the culture of Zen-Buddhism has formed the very core Japanese ethical culture.During the cultural communication between China and Japan in the ancient time, especially during the religious communication between these two countries during the Chinese Song and Yuan Dynasty or the Japanese Kamakura Period and Muromachi Period, the calligraphy of eminent monks of both countries composed a significant realm of Sino-Japanese cultural relationship. By setting the calligraphy of Zen as a research object, it will be possible to obtain a scientific and integrative research on the cultural heritage of both China and Japan through scientific cognition and sober analysis on the representational calligraphy of both its disseminators and embracers by comparative method. Besides the introduction and the conclusion, the main content can be divided into three parts.Part OneChapter 1This part gives a summary about the origins and tenets of Chinese and Japanese Zen-Buddhism, and about the meanings and the definition of Zen calligraphy. Different categories and editions of Zen calligraphy will be introduced.Chapter 2This part mainly researches and introduces the representational characters and their representational calligraphy of Linjizongyangqi School in Song and Yuan Dynasty. There were three schools of Zen in Song and Yuan Dynasty, namely, Dahuizonggao School, Poanzuxian School and Songyuanchongyue School. Rearrangement and textual research will be made on Zen calligraphy.Chapter 3The thread of this part is the missionizing of the most distinguished Chinese eminent Zen monks to Japan. These eminent monks of Song Dynasty, Lanxidaolong, Wuxuezuyuan and Yishanyining went to Japan where they disseminated the pure Zen of Linjizong and the Shangyi Calligraphy Style. At the same time they transplanted also the Pure Rule of Zen and the Principal-theory of the Song Dynasty to Japan. Besides, Wuanputing, Daxiuzhengnian, Qingzhuozhengcheng and other Yuan Dynasty monks brought the calligraphy style of Zhao Mengfu, Zhang—Jizhi and other eminent calligraphers of Yuan Dynasty to Japan.Chapter 4This part deals with the Japanese Zen calligraphy of the Middle Ages. First, I will do research on the Japanese training monks in Song Dynasty China during the Japanese Kamakura Period. I will mainly focus on Rongxichuanlin, Junnaichuanluzong, Daoyuanchuancaodongzong. Through calligraphy and literature, textual research on sparely known historical facts of Zen friendship between Chinese and Japanese monks will be made. Secondly, research on the communication between Japanese training monks in Yuan Dynasty China and Chinese Buddhist masters will be made. Thirdly, I will analyze the calligraphy of three representational eminent Buddhist monks in the Japanese Wushan Period, namely Mengchuanshushi, Huguanshilian and Zongfengmiaochao, and expose the mental characteristics of Japanese ethical culture.Part TwoChapter 1In this part I will make an introduction to Zen painting, interrelated with Zen calligraphy and will also give a definition of the content of Zen painting. This part mainly expatiates the influence on painting brought by the Yipin Painting Style of court painters, like Mu Xi, Liang Kai, Ma Yuan and Xia Gui; and the tremendous influence brought by Chinese Yuan dynasty landscape paintings with theme of reclusion on the form and taste of the Japanese scrolling painting during the Wushan Period.Chapter 2This part will focus on the Japanese culture interrelated with calligraphy. This part will mainly introduce the eminent item in the tea houses, which will be regarded as the most significant calligraphies of those so called "tea people" as well as to the friendship between China and Japan in the field of religion. The predilection for Chinese culture of Ashikaga Shogun in the Kamakura Period will also be analyzed and researched; and his collection of paintings and seals will be summarized.Part ThreeSummary of Zen Calligraphy and Painting Arts. The conclusion reviews the historical background of assimilation of Zen into Japan and aesthetic characteristics of Zen calligraphy related artworks, such as Chinso painting, wash painting and scrolling painting.Rulers of Kamakura period and Muromachi period received eminent monks from China with generous hospitality, hoping that the emerging Zen could take the place of existing religious power; meanwhile, the simplicity and asceticism advocated by Zen had met the emphasis on thrift and austerity by Kamakura samurais.While hugely impacted the calligraphy circle of Japan, "Shangyi" calligraphy Style of Song Dynasty greatly influenced calligraphy of Chinese and Japanese eminent monks. Non-balanced, simple, natural and exceptional—the major characters of Zen calligraphy shared the same spirits with "Shangyi" calligraphy Style of Song Dynasty: surmounting, exceptional, original, suddenly-enlightened, unconventional, and ’’from rules to free style".If Portrait painting in Kamakura Period was regarded as expression of worship of heroes in aesthetics, then Chinso painting in Muromachi period was a respect to Zen masters. Valuing orthodoxy inheritance, Chinso painting was awarded with inkajyo and cassock, certificates of inheritance of Zen, to the successor.The vigorous and unrestrained Yipin painting style, represented by Liang Kai and Mu Xi of Song Dynasty, had great influence on Japanese Zen wash painting. In the medieval Zen, Taoism and Buddhism figure painting became source theme of Zen painting. The "simple strokes", of no resemblance of shape and with loosely arranged strokes, had met the taste of Zen monks and samurais.The thought of seclusion reflected in landscape scrolling painting of Kamakura Period, was inspired by literati painting of the Song and Yuan Dynasties, wherepoem, calligraphy and paintingwere combined, enhancing the artistic beauty of the painting.All the above-mentioned are both great enrichment to the cultural inheritance of human beings and evidence of the great compatibility, tolerance and changeability of Chinese Buddhism culture. Japan’s embracement of such culture has showed its maturity and self-consciousness in absorbing foreign culture.更多还原