因愛而入藝‧因藝而入道：論奚淞的宗教文學創作

Entering the Art through Love‧Entering the Buddhist Philosophy through Art: Exploring the Literature and Religion of Shi Song

本文擬從文字與視覺文本創意互文的角度考察奚淞（1947-，上海）如何轉譯觀音形象與佛傳於文字和繪畫，傳達他對佛理的體悟。本文認為他早期新編哪吒雖受現代主義、存在主義影響，卻已埋下佛教文學創作的種子。爾後散文《三十三堂札記》、《給川川的札記》、《大樹之歌》，轉而對佛理思悟日深，然而，奚淞言談佛理的同時，更著重分享倫理、愛、感情等人類的世俗煩惱與寬心的方法；又，作為「手藝人」的作者出身美術專業，筆者認為他展開了一條因人倫之愛而投入書畫藝術與文學創作，卻也從藝術摸索出結合佛教思想的路徑，從而達致道藝合一。本文主要研討奚淞此類創作的取材特色與實踐效果，並闡述其佛教書寫在臺灣宗教文學佔有怎樣的一席之地。

This paper explores the creative interaction between text and visual elements in the works of Shi Song (1947 to present, born in Shanghai), focusing on his depiction of Guanyin and Buddhist teachings through text and illustrations. In works such as Notes of Thirty-Three Lectures, Notes to Chuan Chuan, and Song of the Big Tree: Painted Stories of the Buddha, Shi Song, once influenced by modernism and existentialism, reveals a shift towards a deeper understanding of Buddhist philosophy. While centered on Buddhist teachings, his works also address secular concerns such as morality, love, and emotions. With a background in fine arts, Shi Song who identifies as a“craftsman”blends calligraphy, painting, and text to create a unique spiritual practice. This paper examines his materials, techniques, and the key images in his works, establishing Shi Song’s significance in Buddhist literature within Taiwanese religious writing.