本文研究範圍，主題佛畫人物為: (1)佛祖 (2)觀音，觀音又分送子觀音. 竹林觀音. 十一面觀音. 蓮子觀音等. (3)菩薩，菩薩又分地藏王菩薩. 供養菩薩. 其他尚有天王. 射手. 羅漢. 飛天. 樂伎等. 將各圖以現代水墨技法處理，背景配以山水. 花卉.圖案. 漢畫像磚，現代時空. 城市. 捷運，相互交錯異時同圖，呈現各種轉換，並將中西畫名 作連結. 為佛相畫賦予新生命. 創作理念以「以形寫神」「遷想妙得」「外師造化，中得心源」學理為基礎. 透過水墨寫意，以美化. 簡化. 誇張. 重組的提煉手法，增加審美意趣，提高佛相畫的藝術純度，實踐「神形兼備」.「工中帶寫」意旨，破除工筆佛相畫似顯單調僵硬的概念. 筆者之創作方法，承續傳統工筆人物佛相的繪畫理論及技法，再加強光影的表達. 以具象. 意象和抽象的形色與空間作合理的組合，反應現代人心靈世界的多樣性，及理想與現實的調和美. 突破以往工筆佛相畫的技法，期在東西繪畫法則與理念融合下，能展現世界觀與現代感. [摘要] In terms of the creative and research range of this thesis, the topical subjects of Buddha figure are: (1) Sakyamuni Buddha, (2) Avalokiteshvara, Avalokiteshvara is divided into Sung Tze Bodhisattva, Chu-Lin (bamboo forest) Guanyin Bodhisattva, Ekadawa Mukha Bodhisattva, Lian-Chih Bodhisattva and etc. (3) Bodhisattva, Bodhisattva is also divided into Ksitigarbha, Kung Yang Bodhisattva. There are also other drawings such as Four Deva Raja, Archer，Arhat，celestials flying in the sky when Sakyamuni Buddha expounds Buddhist Sutras, music playing and dancing，and etc. Each dravmig is handled through modern ink painting technique and combined with natural scenery，flowers and plants, patterns, drawings of Han Dynasty drawn on bricks, the space time of present day，city，rapid transit system as the background，mutual interlock of ancient and modern in one drawing to represent each kind of transformation and connect the famous drawings of Chinese and Western to endow a new life to the Buddha drawings. Our foundation consists of the creative principles "describing spirit through form"，"to move thought for miraculous attainment" and "outwardly the master creates Changes, inwardly he gains the source of Mind". Furthermore，through realistic representation，and using the refined techniques of aesthetification，simplification，distortion，and repetition，we will both increase the interest and enjoyment involved in the appreciation of beauty and also elevate the artistic purity of Buddha paintings. In so doing，we may both realize the dictums "spirit and form are both completely presented" and there is a representation of the essence of the thing in the artistry f the drawing" and also destroy the biased notion that traditional Chinese fine line ("artisan'sbrush" or kungpi/gongbi) paintings seem stiff. This painter's creative method is first to receive and continue the principles and techniques of fine line Buddha painters of the past and then to strengthen the expressiveness of light and shadow. In his creation，this painter will also make a rational composition both formally and spatially of images of concrete objects (chuhsiang/juxiang)，significant imagery ("idea images" or ihsiang/ yixiang)， and abstract images ("with the representational images drawn out" or chouhsiang/chouxiang). The purpose here is to reflect both the rich variety of the world Inhabited by the modern spirit and also the harmony and beauty of ideals and their realization. This painter will break away from fine line Buddha paintings of the past; by blending the painting rules and ideals both East and West，we have the expectation of displaying a modern sensibility and a unique world-view. 論文
