【作者】 吴晨俊；

【导师】 顾震岩；

【作者基本信息】 中国美术学院 ， 中国画花鸟， 2011， 硕士

【摘要】 宋代牧溪为当时禅僧无准和尚之弟子,其所绘作品深受禅学思想的影响,而画中透露出无限的禅机。在牧溪的众多作品中,以《六柿图》最为后人所赞赏,并被世人公认为禅画中经典之作。牧溪以简逸之笔法及分明的墨色表现出柿子的前后空间层次,画幅中只绘出六个柿子其余空无一物,留下一遍遥而无际的空间。这样的空间表现使得画中的白并不显得空,而留白处却让观者存有更大的想象空间。本文所以选择宋代牧溪《六柿图》作为研究对象,乃因笔者素喜笔墨清新、意境超逸之作,且个人平素即好以“空灵”意境为创作主轴,故以此为题,希望藉由牧溪《六柿图》中造形、构图、笔墨、空间的研究,以了解禅宗美学对于牧溪《六柿图》的影响,并了解其中所蕴含的深邃之意,而进一步探讨禅宗对于中国水墨之影响,以厘清“禅”、“空灵”、“水墨”等诸元素间之关联性,并作为个人水墨创作之参考。本文之研究目的在于了解牧溪《六柿图》中所透露出的内涵及意境,以及禅宗对于中国水墨之影响,故有关牧溪的生平事迹,仅与研究内容相关者概述之,余则不予赘述。更多还原

【Abstract】 Mu Si was a disciple of Monk Wu Jhun in Song Dynasty. Heavily influenced by Zen thoughts, Mu Si’s paintings revealed profound Zen allegoric words. Within all his paintings, Liu Shih Tu (Painting of Six Persimmons) was most praised by later generations, and was recognized as a classic among Zen paintings. Mu Si presented the persimmons in perspective with simple brushwork and distinct ink color. Nothing but six persimmons was painted; the blank space did not resemble emptiness but vast space for imagination.This study focuses on Mu Si’s Liu Shih Tu (Painting of Six Persimmons) due to personal preference over simple and graceful painting of the researcher. The study analyzes the shapes, composition, brushwork, and spatial arrangement illustrated in the painting to understand the influence of Zen aesthetics over Mu Si’s Liu Shih Tu (Painting of Six Persimmons), and further comprehend the profound connotation of Mu Si’s Liu Shih Tu (Painting of Six Persimmons), probe into the influence of Zen over Chinese water-ink painting, and identify the relativity of“Zen”,“detachment”, and“water ink”for reference to personal reference on water-ink painting.The purpose of this research is to understand the connotation and artistic conception manifested in Mu Si’s Liu Shih Tu (Painting of Six Persimmons) and the influence of Zen over Chinese water-ink painting. Therefore, only background of Mu Si correlated to this research was described herein.更多还原