佛陀紀念館《禪畫禪話》浮雕之圖像學研究

The Research in the Iconology of the Relief Frescos“Chan Pictures and Chan Talks” of the Buddha Museum

為恭奉佛牙真身舍利於2011年興建的佛陀紀念館，其核心價值包含藝術、文化、教育及淨化人心等功能。本文主要以佛館40幅《禪畫禪話》浮雕為研究對象，採用田野調查與文獻觀察，透過潘諾夫斯基的三階段圖像分析法，從外觀來瞭解這些浮雕圖像的內涵，與其具有的時代意義與價值；挖掘佛教藝術品對生命教育的啟發與對佛光山人間佛教的弘法功能。研究發現《禪畫禪話》由「以話為主」的平面創作走向「以畫為主」的立體浮雕，顯現了禪畫中「畫中有禪，禪中有畫」的特徵，大小相等的禪師與學僧圖像表現人人本自具足禪心佛性的平等觀，發揮了禪畫寓教於樂的效果，高度符應佛光山弘揚人間佛教的四大宗旨，具有與時俱進的生命教育意涵與推廣價值，可提供做為各級學校生命教育的教材。

The study found that the 40 relief fresco “Chan Pictures and Chan Talks” changed from graphic creation manifested the characteristic of “Chan in Pictures, Pictures in Chan.” The same size of Chan Master and his student shows equality of the embodied Buddha Nature and Chan mind within all human beings. It also plays an edutainment effect of Chan Pictures, and highly correspond with the Four Major Objectives of Humanistic Buddhism promoted by FoGuangShan. Apart from being rich in Buddhist ideas, they also embody the advancement and value of life education, and as teaching material in any life education course offered by all the institutions.