早期中国佛教美学中的形式问题  

Formal Issues in Early Chinese Buddhist Aesthetics

作　　者：马麟[1] Ma Lin

机构地区：[1]武汉大学文学院

出　　处：《中国美学研究》2024年第2期3-18,共16页

基　　金：国家资助博士后研究人员计划(项目编号:GZB20230551);中国博士后科学基金第75批面上资助(2024M752448)阶段性成果

摘　　要：形式问题是早期中国佛教美学的一个中心议题,各家各派观点不一。与韦伯的全称判断“救赎宗教贬斥形式”不同,早期中国佛教美学的形式理论有三种审美价值判断:一是源于小乘禁欲主义思潮的贬斥论,二是融合本土形式化审美思潮的褒扬论,三是源于大乘般若思潮的中观论。空有不二的中观论是中国佛教美学形式认识论的主流,在3至6世纪发展为对山水、建筑、造像、音声(梵呗)、文辞之美的追求。“法无定相”“镜万像于无像”“拟象天乐,仪形群品”“一切诸法,从意生形”等形式美学命题的出现,丰富了中国古典美学的形式思想。The issue of form is a central topic in early Chinese Buddhist aesthetics with various perspectives differing.Unlike Weber’s comprehensive judgment that“redemption religions depreciate forms”,early Chinese Buddhist aesthetics has three aesthetic value judgments on form theory:the first is the depreciation theory stemming from the asceticism of Hinayana Buddhism;the second is the commendation theory that integrates indigenous formal aesthetic trends;and the third is the Madhyamaka theory stemming from the Mahayana Prajnaparamita thought.Madhyamaka advocates the non-duality of ontology and form,and is the mainstream of the formal epistemology of Chinese Buddhist aesthetics.During the 3rd to 6th centuries,it developed into the pursuit of the beauty of landscapes,architecture,statues,sounds(Sanskrit chants),and diction.The emergence of formal aesthetic propositions such as“Dharma has no fixed phase”,“Observing the emptiness of all phenomena”,“Imitation heavenly music,all things can be carriers”,“All dharmas come into being from the mind”have enriched the formal thinking of ancient Chinese aesthetics.

关 键 词：早期中国佛教美学 审美形式 价值判断 中观论 

分 类 号：B948[哲学宗教—宗教学] B83-0