弘一大师书风转变再探讨 ——从《历代名画观音宝相》谈起  

Revisiting the Transformation of Master Hongyi's Calligraphy Style——A Case Study on Famous Paintings of Guanyin's Solemn Images in Various Dynasties

作　　者：涂昌裕 TU Changyu(School of Calligraphy,China Academy of Art,Hangzhou 310002,China)

机构地区：[1]中国美术学院书法学院,浙江杭州310002

出　　处：《美育学刊》2025年第2期96-108,共13页Journal of Aesthetic Education

摘　　要：《历朝名画观音宝相》一书的面世,见证了印光、弘一两位法师从撰序到书写的过程。他们对中华艺术的重视与敬慎态度,为此书彰显流通意义。弘一法师受益于印光法师的书信开导,自此开启了自我革新的文艺创作。他领悟到书法与佛法的会通,这种理解贯穿于他出家后直至晚年的笔墨风格的蜕变之中。回顾他的历程,正是得益于善知识的启发与引导,才使其艺术生命实现了关键性的转折。通过此书的发现,我们不仅看到了印光、弘一两位法师对佛教艺术的珍视,还能从书法与书写的内蕴中屡见“诚敬”特质贯注的文艺思想,这正是“书人合一”理念的具体呈现。The appearance of the book“Famous Paintings of Guanyin's Solemn Images in Various Dynasties”witnessed the process from preface writing to writing under the guidance of two masters Yinguang and Hongyi.Their emphasis and cautious attitudes towards Chinese art highlight the significance of circulation of this book.Master Hongyi benefited from Master Yinguang's letter guidance and thus embarked on a self-innovative literary and artistic creation.He realized the connection between calligraphy and Buddhism,which ran through the transformation of his brush and ink style from his monastic life until his later years.Looking back at his life,it can be attributed to the inspiration and guidance of good knowledge that his artistic life achieved a crucial turning point.Through the discovery of this book,we not only see the appreciation of Buddhist art by Yinguang and Hongyi,but also the literary and artistic ideas infused with the characteristics of“sincerity and respect”in calligraphy and writing,which is a concrete manifestation of the concept of“unity of calligrapher and writer”.

关 键 词：弘一 印光 《历朝名画观音宝相》 寓佛于艺 审美意识 

分 类 号：J292.1[艺术—美术]