從佛像圖騰之應用建立福智宗教團體視覺形象設計的研究
Abstract
佛教在東漢時自印度傳入中國，開起了璀璨的一頁，佛教的造像藝術在美術史中佔有重要地位，也衍生了許多佛教圖騰，啟發了後世雕塑、繪畫、工藝、文學的創作。佛教藝術博大精深，融合印度、希臘、中國等民族豐富的文化和藝術思想，只要有佛教弘傳的地方，皆留下可貴的佛教藝術資產。而佛教藝術不僅是文化藝術欣賞而已，更隱含睿智的生命哲理，成就了高度的人類文明外，珍貴資料，是人類的文化寶藏和精神糧食，照耀永恆的光輝。
藏傳佛教同時具備了顯宗與密宗的宗教義理，這些抽象的義理，透過藝術加以具象的表達，直接傳達給虔誠的佛教徒，除了深具神秘氣氛的神像外，又具有藏民族的特有的圖騰，形成一種特殊的藝術形式，如唐卡具有藏族的特色。
福智宗教團體是上日下常法師創辦的，學習的內涵是以宗喀巴大師所著“菩提道次第廣論”為教學重點，在台灣之歷史已逾二十年福智宗教將釋尊的教義有條理、有次第的闡述之外，透過日常法師在漢地大力推崇和達賴喇嘛的教導，這樣的一個系統傳承，使這個團體具有漢藏之特色，本研究了解漢傳和藏傳佛像藝術之異同處外，也分析出兩地教義、政經、文化、生活、習俗等差異性；同時，應用佛教圖騰設計出新的標誌及其應用，建立福智宗教團體視覺形象創新設計模式，其功能不僅以一種潛移默化的力量，使觀賞者不只是欣賞創作，也能體會出佛法之妙義，達到宣傳教義，弘揚佛法的目的。
本研究的重點如下：
‧分析出漢藏教義、政治、經濟、文化、生活、習俗之差異性
‧分析出漢藏立體佛像的異同處
‧分析出漢藏平面佛像風格的差異性
‧建立福智宗教團體視覺形象創新設計
Abstract Buddhism entered China from India during the Eastern Han Dynasty, heralding the beginning of a new, magnificent cultural era. Buddhist sculpture and visual arts play an important role in the history of Eastern art, and many motifs and patterns that first emerged in this context later became a vital inspiration for countless sculptors, painters, handicraft artists and writers. Buddhist art is all-encompassing and profound, merging the rich cultural and artistic traditions from ancient India, Greece and China into a unique amalgam. The precious artifacts that resulted from this innovative movement are distributed over all the areas to which Buddhism spread during its long history. But Buddhist art does not just serve the purposes of aesthetic pleasure and artistic expression: it moreover contains deep and incisive insights into eternal truths, a philosophy of life that not only produced sophisticated civilizations but was also sublimated into priceless individual works that are part of humanity's universal heritage. The most outstanding works of Buddhist art provide lasting nourishment for the human soul and stand among the greatest achievements of the human spirit. Tibetan Buddhism can roughly be divided into exoteric and esoteric, or tantric, traditions. The often rather abstract doctrines of both can be and are given a concrete shape in works of art, which serve as a medium of direct communication with devout Buddhist followers. Some of these are sculptures or statues of various deities, breathing mystery and wisdom, others are imbued with the characteristics of Tibetan folk culture, giving them a distinctive air and artistic quality. Good examples of the latter are the Tibetan Tankas. The Bliss& Wisdom Religious Group, founded by Master Shin Jih-Chang, focuses its education efforts on teaching and spreading Great Master Tsong-Kha-Pa's Great Treatise on the Stages of the Path to Enlightenment. The Bliss & Wisdom School has a history of more than 20 years in Taiwan, expounding in an organized, gradated fashion the doctrines of Sakyamuni Buddha. Bolstered by the joint efforts of Shin Jih-Chang and the Dalai Lama, who are preaching this specific form of Buddhism throughout China and Tibet, Bliss & Wisdom has become firmly established as a distinguished religious school in the Sino-Tibetan tradition. This treatise deals with the differences and similarities of Chinese and Tibetan Buddhism, while at the same time analyzing the divergent characteristics of China and Tibet's religious, political, economic and cultural systems, as well as their distinct social customs and conventions. It is also shown how Buddhist totems and patterns are being employed by the Bliss & Wisdom ReligiousGroup to create new symbols and designs that establish a recognizable brand of visual imagery. The function of these novel images is to exert a subtle, transforming influence on the observer, so that audiences will not just appreciate them as works of art, but also gain a glimpse of Buddhist wisdom. In other words, art is here utilized as a tool for spreading the Dharma. Focal points of this treatise: - Analysis of the divergent characteristics of China and Tibet's religious, political,economic and cultural systems, as well as their distinct social customs and convention - Analysis of the differences and similarities of Han Chinese and Tibetan Buddhist sculptures - Analysis of the differing styles of Han Chinese and Tibetan Buddhist images in painting and other two- dimensional media - Establishment of a recognizable brand of visual imagery for the Bliss& Wisdom Religious Group via creation of new symbols and designs
Abstract Buddhism entered China from India during the Eastern Han Dynasty, heralding the beginning of a new, magnificent cultural era. Buddhist sculpture and visual arts play an important role in the history of Eastern art, and many motifs and patterns that first emerged in this context later became a vital inspiration for countless sculptors, painters, handicraft artists and writers. Buddhist art is all-encompassing and profound, merging the rich cultural and artistic traditions from ancient India, Greece and China into a unique amalgam. The precious artifacts that resulted from this innovative movement are distributed over all the areas to which Buddhism spread during its long history. But Buddhist art does not just serve the purposes of aesthetic pleasure and artistic expression: it moreover contains deep and incisive insights into eternal truths, a philosophy of life that not only produced sophisticated civilizations but was also sublimated into priceless individual works that are part of humanity's universal heritage. The most outstanding works of Buddhist art provide lasting nourishment for the human soul and stand among the greatest achievements of the human spirit. Tibetan Buddhism can roughly be divided into exoteric and esoteric, or tantric, traditions. The often rather abstract doctrines of both can be and are given a concrete shape in works of art, which serve as a medium of direct communication with devout Buddhist followers. Some of these are sculptures or statues of various deities, breathing mystery and wisdom, others are imbued with the characteristics of Tibetan folk culture, giving them a distinctive air and artistic quality. Good examples of the latter are the Tibetan Tankas. The Bliss& Wisdom Religious Group, founded by Master Shin Jih-Chang, focuses its education efforts on teaching and spreading Great Master Tsong-Kha-Pa's Great Treatise on the Stages of the Path to Enlightenment. The Bliss & Wisdom School has a history of more than 20 years in Taiwan, expounding in an organized, gradated fashion the doctrines of Sakyamuni Buddha. Bolstered by the joint efforts of Shin Jih-Chang and the Dalai Lama, who are preaching this specific form of Buddhism throughout China and Tibet, Bliss & Wisdom has become firmly established as a distinguished religious school in the Sino-Tibetan tradition. This treatise deals with the differences and similarities of Chinese and Tibetan Buddhism, while at the same time analyzing the divergent characteristics of China and Tibet's religious, political, economic and cultural systems, as well as their distinct social customs and conventions. It is also shown how Buddhist totems and patterns are being employed by the Bliss & Wisdom ReligiousGroup to create new symbols and designs that establish a recognizable brand of visual imagery. The function of these novel images is to exert a subtle, transforming influence on the observer, so that audiences will not just appreciate them as works of art, but also gain a glimpse of Buddhist wisdom. In other words, art is here utilized as a tool for spreading the Dharma. Focal points of this treatise: - Analysis of the divergent characteristics of China and Tibet's religious, political,economic and cultural systems, as well as their distinct social customs and convention - Analysis of the differences and similarities of Han Chinese and Tibetan Buddhist sculptures - Analysis of the differing styles of Han Chinese and Tibetan Buddhist images in painting and other two- dimensional media - Establishment of a recognizable brand of visual imagery for the Bliss& Wisdom Religious Group via creation of new symbols and designs
Description
Keywords
圖騰, 福智, 宗教, Pattern, Bliss & Wisdom, Religion