画论偈探赜  

Exploration of Painting Theory in Gatha Form

作　　者：李小荣 LI Xiao-rong(The Centerfor Studies of Fujian and Taiwan,Fujian Normal University,Fuzhou 350007,Fujian,China)

机构地区：[1]福建师范大学闽台区域研究中心,福建福州350007

出　　处：《宝鸡文理学院学报(社会科学版)》2025年第1期31-47,共17页Journal of Baoji University of Arts and Sciences:Social Science Edition

摘　　要：中国古代画论与佛教诗歌、佛教美术的关系极其密切,其突出表现就在于僧俗二众皆有大量以偈体创作的画论诗,它们可称作画论偈。溯其来源,最早出自汉译佛典。中唐特别是两宋以后,随着南宗思想及文字禅的盛行,画论偈又广泛用于丛林说法,旨在以画喻禅、释禅、证禅。而士僧交往的频繁及唐宋佛画的转型,促成了由技进道的(水)墨禅,董其昌等人总结为画禅思想。其理念又还拓展至诗歌、书法,由此,诗、书、画、禅全面贯通,促进了佛教文学与艺术的共生与繁荣。此外,画论偈总结了佛教美术活动中的多种理念,其所用“偈”字,则是禅画所含佛、禅思想意蕴的代称或象征。The relation ship between ancient Chinese painting theory,Buddhist poetry,and Buddhist art is extremely close,highlighted by the large number of painting theory poems created in the form of gatha by both monks and lay people,which can be called painting theory in gatha form.It originated from the Chinese translation of Buddhist scriptures.After the mid Tang Dynasty,especially after the two Song Dynasties,with the prevalence of Buddhist southern sect and textual Zen,painting theory in gatha form were widely used for preaching in the Buddhist monastery,aiming to use painting to symbolize,interpret,and verify Zen.The frequent interaction between scholars and monks,as well as the transformation of Buddhist painting in the Tang and Song dynasties,led to the development of ink Zen,which evolved from a craft to a spiritual realm and summarized by Dong Qichang and others as the philosophy of painting Zen.Its philosophy has also expanded to poetry and calligraphy,thus fully integrating poetry,calligraphy,painting,and Zen,promoting the coexistence and prosperity of Buddhist literature and art.In addition,the painting theory in gatha form summarize various concepts in Buddhist art activities,and the word gatha used in them is a synonym or symbol for the Buddhist and Zen philosophical connotations contained in Zen paintings.

关 键 词：画论偈 画禅 水墨禅 禅画 题画诗 

分 类 号：I207.22[文学—中国文学]