超越形式之美:道家美学与禅宗美学的交汇点  

Beauty Beyond Form:The Intersection of Taoist Aesthetics and Zen Aesthetics

作　　者：袁天杨 YUAN Tianyang(School of Art,Northeastern University,Shenyang 116600,China)

机构地区：[1]东北大学艺术学院,辽宁沈阳116600

出　　处：《赤峰学院学报(哲学社会科学版)》2025年第1期75-79,共5页Journal of Chifeng University:Philosophy and Social Science Chinese Edition

摘　　要：道家美学与禅宗美学存在着一定的交汇,禅宗寻求通过瞬间的无意识状态观照到一个人的原始本性来实现觉悟,这最初于老子的“涤除玄鉴”思想有所体现,其后,历经了庄子的“心斋”“坐忘”思想,并在慧能的“无念”中深化发展。此外,道家美学倾向于超越具体形式,追求无形之道,而禅宗美学中的“空观”也体现了对超越具体形象的追求。本文首先通过对由先秦道家美学向禅宗美学的发展历程及各自的哲学基础进行梳理,接着由“无”与“空”进一步出发,总结出二者在审美理念与实践上的共通性可体现于三点,即凭借道与心的无限广大而超越美丑的包容之美、客观反映自然之道而消除对立的平和之美、言有尽而意无穷的直觉之美。There is a certain intersection between Taoist aesthetics and Zen aesthetics.Zen seeks to realize enlightenment by observing a person's original nature in a moment of unconsciousness,which is initially reflected in Lao-Tzu's thought of"eliminating the metaphysics".Later,it goes through Zhuang-tzu's thought of"heart fasting"and"sitting and forgetting",and is further developed in Hui-Neng's thought of"no mind".In addition,Taoist aesthetics tend to go beyond the concrete form and pursue the invisible way,while the"empty view"in Zen aesthetics also reflects the pursuit of going beyond the concrete image.In this paper,firstly,the development process from pre-Qin Taoist aesthetics to Zen aesthetics and their respective philosophical basis are sorted out.Then,starting from Taoist"noism"and Zen"empness",the similarities between the two in aesthetic concept and practice can be mainly reflected in three points.That is,the inclusive beauty that transcends beauty and ugliness by virtue of the infinite expansiveness of Tao and heart,the peaceful beauty that objectively reflects the way of nature and eliminates opposition,and the intuitive beauty that says everything but has infinite meaning.

关 键 词：禅宗美学 道家美学 超越形式 美学交汇 

分 类 号：B83-0[哲学宗教—美学]