浅析丰子恺《护生画集》中“护生即护心”的美学思想 = A short analysis on Feng Zikai’s paintings for the Preservation of Life: Exploring the aesthetic thoughts within the idea of “life preservation is equivalent to protecting one’s heart”

• Main Author: 曾鑫滢 Chan, Anna Xin Ying
• Other Authors: Chu Kiu-wai
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2020
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/144031
• Institution: Nanyang Technological University

《护生画集》中的两大主要思想是“戒杀”和“护生”，致力于“以艺术作方便，人道主义为宗趣” ，通过简单易懂的漫画与文字来向大众传递珍惜生命、爱护动物、保护环境等意识。《护生画集》的主要创作者为丰子恺（1898-1975），其当中所表现出来的许多美学思想也都与他一贯的绘画作风一脉相承。《护生画集》第一集和第二集面世后曾受过一些读者的质疑与批评，丰子恺为此于第三集序文中作出回应，并在其中指出《护生画集》最重要的创作理念——“护生即护心”。 丰子恺的众多作品中都可看出他个人的儿童情结与对所谓“黄金时代”的眷恋。这种特殊的情感也在他的艺术风格中有所反映，产生了极富“童心”的创作作品。本文将尝试结合“护心”与“童心”来进行深入分析，从“护心即童心”的角度来看《护生画集》中丰子恺的“护生”观以及文本中的“儿童相”，最后总结丰子恺如何通过这种对佛教思想的“再诠释”来建构自己的“乌托邦”式想象空间。The two main concepts as portrayed in Paintings for the Preservation of Life are “abstaining from the killing of sentient beings” and “preservation of life”. The book consists of a combination of cartoons and word passages that could be easily understood and interpreted. Through the usage of such aesthetically pleasing artwork, the authors’ main purpose was to promote ideas in relation to humanity, such as valuing one’s life, animal protection and environmental conservation. The main author of this book is Feng Zikai (1898-1875), and the aesthetic thoughts that he portrayed as within the book is in line with that of his other works as well. After the publication of the first and second episode of the book, it was met with distaste from some of its critics. Feng responded in the preface of the third episode, pointing out that the main focus for this book was being overlooked by critics in the first place, that being “life preservation is equivalent to protecting one’s heart”. He argued that the basis of “life preservation” is “to protect one’s heart”, and the latter is essential for the former to exist in the first place. Feng Zikai’s works often portrayed his love for children and his longing for one’s forgotten childhood, of which he gave it the name as “the golden era”. This longing is reflected in his aesthetic thoughts as well, and these works often have a “childlike innocence” to it. This essay aims to explore the relation between the “protection of one’s heart” and “childlike innocence” in depth, and how this connection forms the basis for Feng’s “life preservation” argument in Paintings for the Preservation of Life. Feng’s understanding of “life preservation” is in itself, a reinterpretation of Buddhist thoughts and through the analysis of artworks that are related to the idea of “childlike innocence”, this essay would also seek to understand how this “reinterpretation” helped to shape Feng’s idea of a utopian imaginary world.