摘要
弘一大师与居士合作书画的创作模式,已知者共有两种:第一种是1929年开始与丰子恺合作之《护生画集》(后来又续出五集);第二种是1933年与卢世侯合作之《地藏菩萨九华垂迹图赞》。而这两种画册现今仍然在海内外有新版本出现,可见其在佛教信仰圈的重要性,但知道《护生画集》的人较多,而知《图赞》者相对较少,故启发了对《图赞》的缘起、架构与内容、艺术特色、流传的研究。
There are two ways in which Master Hongyi collaborated with lay Buddhists to produce paintings One kind is Protection of Life Album of Paintings produced in collaboration with Feng Zikai in 1929（ followed by five more albums） and the other kind is The Gathas and Paintings of Ksitigarbha＇s Manifestation in Holy Mountain Jiuhua produced in collaboration with Lu Shihou in 1933. Up till today neweditions of these two albums keep coming out at home and abroad,a testimonial to their importance to Buddhist believers However,while many people knowabout the former album,fewknowabout the latter. To address this disparity,an exploration of the causes,structure,content,artistic characteristics and spread of The Gathas and Paintings of Ksitigarbha＇s Manifestation in Holy Mountain Jiuhua is immensely worthwhile.
出处
《美育学刊》
2016年第2期40-50,共11页
Journal of Aesthetic Education
关键词
弘一大师
卢世侯
地藏菩萨
九华垂迹图赞
M aster Hongyi
Lu Shihou
Ksitigarbha
The Gathas and Paintings of Ksitigarbha＇s Manifestation in Holy Mountain Jiuhua
