中大機構典藏-NCU Institutional Repository-提供博碩士論文、考古題、期刊論文、研究計畫等下載:Item 987654321/66036
English  |  正體中文  |  简体中文  |  Items with full text/Total items : 73032/73032 (100%)
Visitors : 23250242      Online Users : 393
RC Version 7.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version

    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/66036

    Title: 手塚治虫漫畫中佛像圖繪之研究;The Study of the Images of Buddhist Sculptures in Tezuka Osamu’s Manga
    Authors: 王馨蔓;Wang,Xin-man
    Contributors: 藝術學研究所
    Keywords: 手塚治虫;漫畫;佛像圖繪;劇畫;風格;Tezuka Osamu;Manga;the images of Buddhist sculptures;gekiga;style
    Date: 2014-08-29
    Issue Date: 2014-10-15 17:22:55 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 2011年,東京國立博物館舉辦「手塚治虫的佛陀展」,將漫畫家手塚治虫(1928-1989)的《佛陀》原畫與佛像共同展出,引發筆者思考將漫畫與佛像等美術品比較的可能性。事實上,除了此作之外,手塚在四十多年的職業生涯中曾畫過許多佛像,這些佛繪橫跨不同創作時期,出現在不同題材中,也呈現多元的風格,似乎意味著佛像在手塚作品中有特殊意義,值得深入探討,但目前為止,學界尚未對手塚此類圖像提出專門研究。本論文將盡可能蒐集手塚漫畫中的佛繪,探討手塚佛繪的風格演變、真實性與普及性問題、導致畫風劇烈轉變的原因與影響來源、手塚佛繪之特色、佛像在故事中所扮演的角色等議題。





    ;In 2011, Tokyo National Museum held an exhibition entitled “BUDDHA—The Story in Manga and Art,” in which the original drawings of the manga Buddha by Tezuka Osamu (1928-1989) were juxtaposed with some Buddhist sculptures. It inspired me to think about the possibility of comparing manga with Buddhist sculptures and other art works. In fact, in addition to this work, Tezuka also depicted many images of Buddhist sculptures during his four-decade career. These images spanned different creative periods, appeared in different subjects, and were presented in diverse styles. It indicates that the images of Buddhist sculptures in Tezuka’s works are so significant that they are worth more discussion. This thesis collects as many as possible the images of Buddhist sculptures in Tezuka’s manga and discusses the following issues: the changing in style, the sources of these images, and the characteristics of Tezuka’s Buddhist sculptural images.

    The style of Tezuka’s Buddhist sculptural images changes in different periods. It is simple and flat at first, and becomes elaborate and realistic. Then, in the third stage, it is simple and clear. During the period from the late 1960s to the early 1970s, Tezuka’s works are most realistic, exquisite and dramatic, and the Buddhist images were depicted as paintings rather than ordinary manga. The style of this period is very special in Tezuka’s whole creative career.

    From the late 1960s, Tezuka began to include famous Buddhist sculptures into his manga. By comparing a lot of plates from Japanese text books and art historical books, I found that Tezuka often picked Buddhist sculptures that are assigned as National Treasures or Important Cultural Properties. These images are most famous and likely to be familiar to the Japanese public. It is possible that the readers could recognize the images quickly and feel close to them. By this way, Tezuka arouse reader’s reading interest and curiosity.

    The stylistic features of Tezuka’s Buddhist sculptural images from the late 1960s to the early 1970s are most attractive. We find the stylistic source from “gekiga” trend which rose in the late 1950s. Tezuka’s Buddhist sculptural images had a lot in common with those of Mizuki Shigeru (1922- ). When the mainstream of the manga circles was leaded by new trends, Tezuka adopted the popular styles actively and responded with competitive consciousness rather than falling behind too long. In this period, Tezuka published in the media that did not take commercial value for the first concern, and he could create in higher experimental and artistic form. This showed that Tezuka was eager to raise manga to artistic level.

    This thesis points out four characteristics of Tezuka’s Buddhist sculptural images: first, Tezuka often used cinematic devices in terms of changing viewpoints and zooming. Second, he frequently chose famous Buddhist Sculptures assigned as National Treasures or Important Cultural Properties of Japan. Third, he integrated intellectual contents into manga, but the pictorial images were still the main focus. Fourth, he often conveyed ideas of strong critical and enlightening senses and this indicates that he values the educational function of manga.

    This thesis considers that even though Tezuka learned from gekiga, he chose what he wanted rather than fully accepting the style in vogue. He integrated desirable parts into his works, and presented as what with Tezuka’s own features.
    Appears in Collections:[Graduate Institute of Art Studies] Electronic Thesis & Dissertation

    Files in This Item:

    File Description SizeFormat

    All items in NCUIR are protected by copyright, with all rights reserved.

    社群 sharing

    ::: Copyright National Central University. | 國立中央大學圖書館版權所有 | 收藏本站 | 設為首頁 | 最佳瀏覽畫面: 1024*768 | 建站日期:8-24-2009 :::
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback  - 隱私權政策聲明