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中日古代藝術中的“空觀”與“空寂”=Zen,the Empty View and Emptiness: The Keywords that Construct Artistic Conception in Ancient Chinese and Japanese Art
作者 彭修銀 (著)=Peng, Xiu-yin (au.)
出處題名 中南民族大學學報(人文社會科學版)=Journal of South-Central University for Nationalities (Humanities and Social Sciences)=Zhongnan minzu daxue xuebao
卷期v.42 n.2
出版日期2022.02
頁次63 - 72,183 - 184
出版者中南民族大學
出版者網址 http://www.scuec.edu.cn
出版地武漢, 中國 [Wuhan, China]
資料類型期刊論文=Journal Article
使用語言中文=Chinese
關鍵詞藝術理論=artistic conception; 禪=Zen; 空觀=empty view; 空寂=emptiness; 幽玄=seclusion
摘要禪作為東方智慧源于中國又東傳日本,在各自的發展過程中,禪義在意識形態和藝術作品中的差異也日漸有了側重和區別。“空觀”和“空寂”作為禪宗本體論概念之一,分別對中日文化藝術場域及美學理論建構產生了重大影響。“空觀”與“空寂”均將禪宗的無為之“空”與藝術實踐的有為之法統攝圓融起來,并以此為基礎派生出“禪境”“幽玄”等高度“在地化”的美學范疇:“空觀”及其所生發的“禪境”美學構想在中國古代藝術中體現為“即相離相,水月相忘”的禪意至境,追求在“心物一元”的狀態中證見活潑潑的藝術生命。而“空寂”及建構于此上的“幽玄”美學范型在日本古代藝術中則體現為追求以“剎那”“無常”為思想底色的深度表達。同時,“空觀”“空寂”在中日兩國古代藝術語境中亦表現出對生命意識及其價值的不同取舍:沖淡平和、了無掛礙是禪之生命意識于中國古代藝術中的主旋律;而生死一如的日本禪生命意識則在禪僧藝術中裹挾著“以空寂喻萬物”的悲戚色彩。

Zen as eastern wisdom originated from China and spread to Japan. In their respective developmental process,Zen in the two countries diverged in focus in their ideological and artistic works. Through the Zen interpretation of ancient Chinese and Japanese art works,the author tries to prove that " empty view" and " empty silence" are the theoretical basis for the creation of artistic conception in ancient Chinese and Japanese art. First of all,there are some similarities and differences in the construction of " the state of mind" : under the influence of the " empty view" of Chinese Zen,Chinese ink painting and poetry emphasize the state of mind of " separation" and " instant awareness" by means of the abnormal combination of Dao,and cloud-sky Japanese literature in the "empty" under the care of the prominent is the fleeting beauty of impermanence,with the heart filled with loneliness.Secondly,the construction of " aesthetic realm" has its own way: The Chinese " empty view" holds that only bybreaking the law can we understand the meaning of " the unity of mind and matter." Therefore,Zen works are more about the " Tao in the ordinary" and " do not read" self-identity of the aesthetic characteristics. The " emptiness" and " mystery" of Japanese Zen are intermingled,and both take " heart" as the gate of enlightenment,which flows out the frontier of craving in the union of the two in Japanese songs. Based on the principle of mind-nature and emptiness,Japanese Zen works are gentle,beautiful and mysterious to show the realm of the " mysterious." Thirdly,on the premise of " no gain" and " self-adaptation," the " realm of life" of Chinese and Japanese Zen is just like spring orchid and autumn Chrysanthemum in art. The idea of clear and bright life influenced by the " empty view" is the creative purport of the blending of Chinese art and Zen,and the " mind is Buddha" is the artistic interpretation of the life faith of Zen and the life purport of artistic aesthetics. " The unification of ten thousand Dharma" is the theoretical starting point of the fusion of the mind of Buddhism and the mind of art. The life and death of the Japanese Zen Monk Art reveals the natural,open-minded,and compassionate life consciousness. As for the “dry landscape,”“to dry everything”is the “Wabi”of life insight.
目次一、無為“空”與中日古代藝術的視域融合 64
(一) “空觀”於中國古代語境中的藝術投射 64
(二) 禪之“空寂”的日本解讀 65
二、“空性”之源在中日古代藝術中的深度表達 66
(一) 嫡出於“空觀”的禪境 66
(二) 日本中世藝術“幽玄”之境 68
三、“空觀”“空寂”在中日古代藝術中的生命覺解 69
(一) 禪之“空觀”與中國古代藝境合融下的生命意識 69
(二) 日本古代藝術中以“空寂”為底色的生命意識 70
ISSN1672433X (P); 1672433X (E)
DOI10.19898/j.cnki.42-1704/C.2022.0208
點閱次數275
建檔日期2022.10.26
更新日期2022.10.26










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