禅宗“镜喻”的美学意蕴探赜  

A Study on the Aesthetic Implications of the Mirror Metaphor in Zen

作　　者：王婧[1] 

机构地区：[1]武汉大学文学院,武汉430072

出　　处：《哈尔滨工业大学学报（社会科学版）》2017年第6期95-100,共6页Journal of Harbin Institute of Technology(Social Sciences Edition)

基　　金：国家社科基金重大项目"中国宗教文学史"(15ZDB069)

摘　　要：禅宗文化中的"镜喻"现象十分突出,其美学意蕴主要表现在三个方面:其一是禅宗倡导主体拥有清净、空寂的审美心胸;其二是追寻超越有限而直达无限的审美境界;其三是颂扬圆融无碍的人格理想。这种圆融无碍的人格美体现在擅于突破传统观念与日常逻辑的束缚,自觉遵循佛教"破执"的思想;把握"虚"与"实"的辩证关系;秉承"反者,道之动"的哲学思想,明了事物回环往复的变化之理。禅宗喜欢以镜为喻,与镜子自身"清""净""空""明""圆"的特性有助于人们静观修持、回归自性、悟得佛理不无关联。The mirror metaphor phenomenon in Zen culture is very prominent. The aesthetic implications of the mirror metaphor are mainly manifested in three aspects： Zen advocates subject have clean, empty aes-thetic mind; Zen pursues the aesthetic realm of infinite; Zen praises the harmonious personality ideal. The ide-al personality is embodied in three aspects ： breaking through the shackles of traditional ideas and daily logic and following the Buddhist^thought on breaking the persistence; grasping the dialectical relationship between ＂ virtual＂ and 11 reality＂ , and adhering to the philosophy of ＂reversals, is the movement of Tao＂ . Zen is used to taking mirror as the mirror metaphor. This phenomenon is related to mirror＇s characters. Its characteristics a-bout ＂ clear＂ , ＂net＂ , ＂ empty＂ , ＂ bright＂ , ＂ circular＂ contribute to holding observing, returning to self, and understanding the Buddhist theory.

关 键 词：“镜喻” 禅宗 审美 

分 类 号：B946.5[哲学宗教—宗教学]