《历代名画记》中“妙悟”的佛教与道教源流考  

The Buddhist and Daoist Origins of the Term Miaowu in the Records of Famous Paintings of Successive Dynasties

作　　者： Michael Cavayero(School of Arts,Peking University,Beijing 100871,China)

机构地区：[1]北京大学艺术学院,北京100871

出　　处：《北京大学学报（哲学社会科学版）》2023年第5期73-82,共10页Journal of Peking University(Philosophy and Social Sciences)

基　　金：北京大学中央高校基本科研业务费资助,项目名称:“中古早期画论术语的佛教源流研究——中外文化融合例证举隅”(项目编号:7101303367)。

摘　　要：“妙悟”既是张彦远在《历代名画记》中对顾恺之绘画境界的形容,也是佛教术语渗入画论的重要佐证之一。历史地看,“妙悟”一词影响了历代中国艺术实践的发展与品评标准。对“妙悟”的词义进行解析,追溯其在中古佛教经典中的出处,并对比同时期的相关道教文献来探讨“妙悟”在《历代名画记》语境中的意涵,进而厘清张彦远引进这一核心佛教术语的宗教与文化思想背景,将有助于我们“见微知著”地阐述佛教与道教思想对中古艺术理论产生的深远影响。The term Miaowu‘wondrous enlightenment’(妙悟;Skt.*subuddhi,*su s'iks·ita),first introduced in the Records of Famous Paintings of Successive Dynasties(《历代名画记》,c.847),emerged as a novel description by Zhang Yanyuan(张颜远)for the meditative state of the Eastern Jin painter Gu Kaizhi(顾恺之).This usage exemplifies the integration of Buddhist terminology into early artistic theory,impacting subsequent Chinese artistic praxis and its critical vocabulary.This study analyzes the lexical meanings of Miaowu,tracing its origins through early medieval Buddhist texts and comparing it with contemporary Daoist sources.Through this,the paper examines Miaowu within the Records of Famous Paintings of Successive Dynasties,revealing the religious and cultural contexts underlying Zhang Yanyuan’s adoption of this critical Buddhist term.The analysis illuminates the profound influence of Buddhist and Daoist ideations on the formation of early medieval artistic theory,yielding a nuanced understanding of their enduring impact.

关 键 词：妙悟 《历代名画记》 僧肇 《肇论》 《南华真经注疏》 

分 类 号：J196[艺术—艺术理论]