般若学“色空”观与刘勰的“物色”论  

On the“Color Emptiness”of Prajna Studies and Liu Xie,s View of“Matter and Mind”

作　　者：朱憬臻 ZHU Jingzhen(School of Liberal Arts,Anhui Normal University,Wuhu 241000,Anhui,China)

机构地区：[1]安徽师范大学文学院,芜湖241000

出　　处：《合肥学院学报（综合版）》2022年第6期97-102,共6页Journal of Hefei University：Comprehensive ED

基　　金：安徽省高校研究生科学研究项目“中国禅学直觉观与诗学意象批评研究”(YJS20210141);安徽省哲学社会科学规划重点项目(AHSKZ2021D32)资助

摘　　要：刘勰在《文心雕龙》提出的“物色”论是中国古代诗学心物关系论的一个重要转折,其中不乏般若“色空”的思想痕迹。“色空”观对山水文学的兴起有着深刻影响,也从一定程度上改变着传统诗学观念。“物色”一语的使用,本身便具玄佛色彩,由“物感”到“物色”的转化过程暗含了“色空”动因。刘勰还准确揭示了早期山水诗作体物观念的变化及状物方式的改变。色空观“色空一体”的本体论对心物交融理论有重要贡献,心物圆融的审美心物观打破了情景相分的二元壁垒,刘勰最终完成了其山水诗论的建构。The view of“matter and mind”put forward by Liu Xie in his Wen Xin Diao Long,is an im-portant turning point in ancient Chinese poetry for the relationship between the two,which more or less embodies the thought of“color emptiness”of Prajna,which has a deep influence on the rise of landscape literature and changes traditional poetic views to a certain degree.The adoption of“matter color”implies something of metaphysical Buddhism,and the transition from“emotion echoing matter”to“relaticnship between matter and landscape”implies the motivation for the“color emptiness”.Liu Xie precisely reveals the change of the concept of body and form in early landscape poetry.The ontol-ogy of“color-emptiness integration”has made an important contribution to the theory of matter-mind integration.The aesthetic matter-mind view of the integration breaks the dual barrier of scene separa-tion,and Liu Xie has finally completed the construction of his landscape poetry.

关 键 词：般若学 色空观 刘勰 《文心雕龙》 物色 

分 类 号：I206.2[文学—中国文学]