从“梵我一如”到“心境交融”:奥义书与中国传统审美经验的内在转向  

The Upani ads and the Internal Steering of Chinese Traditional Aesthetic Experience

作　　者：单虹泽 SHAN Hong-ze(College of Philosophy,Nankai University,Tianjin 300350,China)

机构地区：[1]南开大学哲学院,天津300350

出　　处：《美育学刊》2023年第5期112-120,共9页Journal of Aesthetic Education

基　　金：国家社会科学基金重点项目“古印度吠檀多思想对中国文化影响研究”(17AZX008);南开大学文科发展基金项目“王阳明及其后学情论研究”(ZB21BZ0336)的阶段性成果。

摘　　要：奥义书美学思想奠基于“梵我一如”的本体论之上。通过对“梵我一如”的深刻领悟,奥义书明确了审美经验的反思性,使美本身获得了主观性意义。奥义书区分了现象之美与本体之美,强调透过外物的形式美领悟其中蕴含的大梵之美。奥义书还以一种消解了审美主客界限的非对象性境界作为最高审美境界。这些观念通过如来藏佛学和禅宗渗透到中国美学之中,使中国传统审美形态发生了实质性改变,形成了关于美的精神反思。唐宋之后的诗词作品普遍呈现出一种迥异于传统儒道美学的审美经验,即所谓“心境交融”。这种审美经验突出了对于本心与心境关系的反思,它无论从形式还是内容上都可以由禅宗追溯到奥义书传统。The aesthetic thought of the Upani ads was based on the ontology of Brahmatmaitym.Through the deep understanding of Brahmatmaitym,the Upani ads made clear the reflexivity of aesthetic experience and made beauty itself acquire subjective meaning.The Upani ads distinguished between the beauty of phenomena and the beauty of noumenon and emphasized the understanding of the beauty of Brahman through the formal beauty of external things.The Upani ads also took a non-objective state which removes the boundary between subject and object as the highest aesthetic state.These ideas have penetrated Chinese aesthetics through Tathāgata-garbha Buddhism and Zen Buddhism,which have changed the traditional Chinese aesthetic form and formed spiritual reflection on beauty.The poetry works after the Tang and Song dynasties generally showed a kind of aesthetic experience different from the traditional Confucian and Taoist aesthetics,so-called“fusion of Xin(mind)and Jing(world)”.This aesthetic experience highlighted the reflection of the Self,which could be traced from Zen to the Upani ads tradition in both form and content.

关 键 词：奥义书 审美经验 禅宗 梵我一如 心境交融 

分 类 号：B83-05[哲学宗教—美学]