图像隐喻:禅画《牧牛图》的审美意涵及其跨文化视域  

Image Metaphor:The Aesthetic Connotation of Zen Painting Ox Herding Pictures and Its Cross-cultural Perspective

作　　者：刘桂荣 LIU Guirong(Institute of Arts,Chinese National Academy of Arts,Beijing 100029,China)

机构地区：[1]中国艺术研究院艺术学研究所,北京100029

出　　处：《河北大学学报（哲学社会科学版）》2023年第6期107-118,共12页Journal of Hebei University(Philosophy and Social Science)

基　　金：河北大学宋史研究专项“历史语境与哲学观念:‘大生命’视域下的宋代艺术研究”(2023HSS006)。

摘　　要：“牧牛”是佛教重要的思想譬喻,中唐至宋,成为禅师们表达禅意的常用话头。《牧牛图》及其图颂在宋代广为流播,其中普明和廓庵的版本影响深远,二者的《牧牛图》以“牛—人”为核心生成了图像的表意系统,黑牛演变为白牛,牛人关系由对峙变为“相忘”“独照”,进而生命呈现“本来面目”;《牧牛图》及其图颂建构了独特的牧牛之境,一画一境,并整体生成最终的“空境”;“空”化为圆相,即“○”符号,意味生命之“本来无一物”的本然,此可谓至高的审美存在;《牧牛图》及其图颂与之所承载的思想远播日美德等国家,在跨文化的视域中发挥着深远的影响。“Ox-Herding”is an important metaphor in Buddhism.From the middle Tang Dynasty to the Song Dynasty,it became a common phrase used by Zen masters to express Zen mind.Ox Herding Pictures and its ode were widely circulated in the Song Dynasty.Among them,Pu Ming and Kuo Ans versions had a profound influence.Their Ox Herding Pictures generated an ideographic system of images with“ox-human”as the core.Black ox evolved into the white,the relationship between ox and people changes from confrontation to“forgetting the other”and“alone in the light”,and then life shows its“original face”;Ox Herding Pictures and their odes construct a unique Ox-Herding-realm,one painting one realm,and the whole creates the final“sunyata state”;“sunyata”turns into Ensō,that is,the“○”symbol.This image means that life is“original nothing”,which is a supreme aesthetic existence;Ox Herding Pictures and its ode and the ideas carried by it have been widely spread in countries such as Japan and Germany,exerting a profound influence in the cross-cultural perspective.

关 键 词：牛 牧牛 境 圆相 

分 类 号：B83[哲学宗教—美学]