| 摘要: | 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。
手塚佛繪的風格演變，整體而言是由簡約、平面到精密、寫實，再到清晰、明快，1960年代晚期至70年代初期，達到立體、寫實、精緻及戲劇性的高峰，畫格也具有繪畫一般的品質。這樣的佛繪特質，反映了此時期手塚漫畫的面貌，在手塚整個創作生涯中相當具有特色。
60年代晚期後，手塚所繪佛像多為實物。本文比對了大量的教科書插圖及美術全集之圖版，發現手塚所繪佛像多屬日本國寶、重要文化財，而且是最有名的作品。他呈現的佛像形象很可能是日本大眾最熟悉的。這使漫畫讀者面對手塚佛繪時，能很快辨認並感到親切，藉此引發讀者的閱讀興趣與好奇心。
手塚佛繪於60年代晚期至70年代初期的風格特徵，我們在50年代晚期所興起的「劇畫」潮流中找到風格來源。整體而言，手塚此時期的畫風受劇畫影響很大，其佛繪又尤與水木茂（1922-）有許多共通點，顯示水木茂也可能對他造成不小影響。我們可以看見，當漫畫界主流由新潮流帶領時，手塚並未落後太久，而是積極採用流行風格，以競賽的意念做出回應。同時，60年代晚期至70年代初期，在不以商業價值為依歸的媒體上發表的手塚，也終於可以更具實驗性與藝術性的形式創作，充分展現他亟欲將漫畫提升至藝術層次的企圖心。
本文舉出手塚佛繪的四點特色：第一，大量運用多元視點及鏡頭推移等電影技巧表現佛像，使畫面富有動感與空間立體感；第二，以日本教科書常出現之國寶、重要文化財一類著名佛像為主要描繪類型；第三，在漫畫中融入知識性內容，但以圖繪為主體；第四，常藉由佛繪傳達強烈的批判性與教化性，突顯手塚對於漫畫的教育功能相當重視。
本文認為，手塚雖學習、模仿劇畫，他並非全盤接受，而是經過選擇，將他認為可取的部分融入自身作品，再呈現具有手塚特色的漫畫風貌。
;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. |
