中国禅宗美学的审美意境与生态精神  

On the Aesthetic Conception and Ecological Spirit of Zen Aesthetics

作　　者：彭修银[1] 姚羿 PENG Xiu-yin;YAO Yi(School of Literature and Journalism Communication,Central South University for Nationalities,Wushan,Hubei 430074)

机构地区：[1]中南民族大学文学与新闻传播学院,湖北武汉430074

出　　处：《艺术百家》2020年第3期17-24,39,共9页Hundred Schools In Arts

摘　　要：中国禅宗美学以东方的智慧,借艺术之力,对人与自然间关系的断裂予以间性弥合。这样的艺术智慧以审美意境的形式呈现在诗歌中予以艺术的表达,就是“性空”与“意生言外”;体现在绘画中并予以艺术的表达,就是“色空”与“止观”;聚合在音乐中,表现出的则是“离色离相”与“寂灭无我”。与审美意境相伴而生的,是以整体观“圆照”为特征的禅宗美学之生态精神,而作为生命之母的大自然既是禅宗美学审美意境传达的特殊媒介,更是其生态精神得以表现的重要载体。中国禅宗美学对待自然所秉持的“道在当下”之生态精神,使其在哲学观上十分重视个体对客观事物的唯心体悟。中国禅宗在某种意义上承继了老庄精神,强调了“色”与“空”二者间的辩证关系,追求还原众生之本来面目的“心道”。由玄到禅的中国禅宗美学,其强调的“心本体”蕴含着对于个体生命与感性的尊重、探索以及个人认识、理解、开悟的途径等。禅宗世界中的自然心相化使得其对真如法身之追求的兴趣,远远高过对自然客观事物本身规律性的探讨,这种只关注个体直观世界对自然“顿如显现”进行观照的行为,既直接影响到了中国古代艺术创作的诸多领域,也在历史积淀中形成了其独有的审美意境与生态精神。The fracture of the relationship between man and nature is a stubborn stone that hinders the development and progress of human society today. In the process of "bridging the gap between the two ",Chinese Zen aesthetics "remould the golden body "with the wisdom of the East and the power of art. Such Prajna wisdom is presented in poetry in the form of aesthetic artistic conception,which is "sexual emptiness"and "meaning beyond words ";embodied in painting,it is "color emptiness"and "stop view ";aggregated in music,it is "separation from color and phase"and "silence without self ". The ecological spirit of Zen aesthetics,which is characterized by the holistic view of "round light ",and the nature as the mother of life It is a special medium to convey the aesthetic conception of Zen aesthetics and an important carrier to express its ecological spirit.

关 键 词：禅宗美学 审美意境 生态精神 色空 性空 

分 类 号：J0[艺术—艺术理论]