摘要
弘一大师的佛教艺术,虽广泛涉及书法、绘画、诗词、音乐等多种体类,但其美学品格却是统一的,即在华严学圆融思想的指导下,融通西洋与东方、人文与佛道、净土与般若、空性与实相,从而在圆成妙有的艺术形式中寄寓缘起性空的佛家义理。在此,西洋美学观念的融入并未改变弘一大师佛教艺术的中国品格,反而化归于后者,并愈加张显出后者的特色。
Master Hongyi＇s Buddhist art includes several areas,such as calligraphy,brushwork,poetry and music.All these have a coherent aesthetic character,namely,to harmonize the West and the East,humanism and Buddhism,pure land and prajna,vanity and reality under the direction of Avatamsaka＇s complete harmony thought,and to place the Buddhist principle of vacant essentiality on the round and great art form.Western aesthetic conception did not alter the Chinese style in Master Hongyi＇s Buddhist art,but blended in and displayed it.
出处
《杭州师范大学学报（社会科学版）》
CSSCI
北大核心
2011年第1期116-121,共6页
Journal of Hangzhou Normal University(Humanities and Social Sciences)
基金
浙江省高校人文社会科学重点研究基地(艺术教育)科研项目<弘一大师佛教艺术的美学解析>(YSJYJDHL10001)的研究成果
关键词
弘一大师
佛教艺术
圆融
Master Hongyi
Buddhist art
complete harmony
