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文明對話：易經思維與佛教義理的互動=Encounter between civilizations: cross-fertilization of I-Ching traditions and Buddhism ideas |
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| 著者 |
冉弘毅 (著)=Jan, Hung-yi (au.)
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| 掲載誌 |
佛學與科學=Buddhism and Science
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| 巻号 | v.6 n.1 |
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| 出版年月日 | 2005.01.15 |
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| ページ | 22 - 32 |
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| 出版者 | 圓覺文教基金會 |
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| 出版サイト |
http://www.obf.org.tw
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 易經=I-Ching; 智者大師=Master Zhih Zhe; 宗密=Master Zung Mi; 蕅益智旭=Master Ou-yi Zhi-xu; 文明互動=civilizational encounter; 文化圓環 |
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| 抄録 | 本文作者堅信佛學與科學的相互滋養中人文科學(human sciences或cultural sciences)不能也不會缺席。人文科學研究者所從事的是：依循邏輯原則，觀察並蒐集人類表達及表達法經驗性資料，以找尋人、事、物發生的規律或形式，進而產生系統性的解釋或理解。本文自此出發，並在博蘭尼(Michael Polanyi) 支援意識、焦點意識、及求知者整合轉悟行動的架構上，同意雅士培(Karl Jaspers)觀察到的軸心時代(axial age)：西元前九百年至六百年間，分散在歐亞大陸各高等文明中的一些人都不約而同地體會到川流不息的現象界之上的超越界，透過符號與各種方式向世界宣說，留下了豐富多元的系統。易經詮釋傳統也是其中之一，並且浸浸然地滲筋透骨，涵泳著在中土生活與學習的文化人。本文的核心問題是：中土的文化人如何援引易經的思維與東來的佛教義理互動，進而消化並安立之？此一互動應屬文明互動的何種形式？本文首先建構易經思維的分解說：形象思維、系統思維與辨證思維。形象也者，卦象也。六十四卦中每一卦均由六條直線（陽爻）或斷線（陰爻）由下而上構成，其中每二爻又分屬天、地、人三才，以「人」居中，作為彌綸天地的主軸；此不只象徵中國的生成哲學，而且透過二門（陰陽）三層（天地人）的網絡，令吾人思維十字打開，得以日增月積，豐厚綿密。每一卦卦內自成系統，與另六十三卦又形成一大系統，這些現象又由「無體易」的超系統曲成而來。詮釋變爻的「卦時、爻位、應比」原則應兼顧系統內，大系統，超系統的啟發義。而「初、上、通」的發展動力又促使學習者自我超越，體會系統與非系統的辯證關係。易的辯證義由牟宗三先生的「自我坎陷」充分發揮。存有的終極之體一有「生生之感」，即「自我坎陷」，下貫為吾人之性體心體，繼而一心開二門（乾坤、陰陽，或以其他名相稱之），歷盡現象界之林林總總的當兒，循著「意義斜坡」終究到達「天人之際」，繼而奮力一躍，進入再度和諧，與存有同遊。形象思維、系統思維與辨證思維分為三而論，當為權說，三實為一。繼而，本文以智者大師，宗密，蕅益智旭為例來說明長於華夏文化泥土的高僧如何以易經思維來消化，進而安立佛學義理。智者大師的「一心三觀」與「一太極三層次」若合符節；吾人可以合理推測，渠貢獻最大的判教會通，具有易經奮進不息融通淘汰的精神。宗密就不只是在思維形式上取用，而是更進一步地受到《周易參同契》的影響而設計出了阿賴耶識圖與十相圖，作為其傳布佛教義理的符號媒介。該圖又回頭豐富了易經圖書學和宋明理學的開展。最後，在佛易相遇千餘年後，智旭代表了儒釋道三教合一的文化現象，提供了「人能弘道」的具體範例。本文在結語中肯認易經思維與佛教義理的互動乃屬於「互相滋養」的文明互動形式，並突顯易經確能作為觀念上的「文化圓環」(cultural roundabout)，只要後人善繼善承，必能消化來自十方的觀念挑戰。而今日成熟的文明系統皆具豐富資源，只賴欲追求自我解放的智者善加運用。
It is the author’s belief that human sciences or cultural sciences should have contributions to make during the cross-fertilization of I-Ching traditions and Buddhism ideas. Starting from this belief, the author borrows the ideas of focal consciousness and subsidiary consciousness from Michael Polanyi to make a heuristic framework for further exploration. Against this backdrop, the author agrees with Karl Jaspers: some intelligent people in major high
civilizations found the transcendental world during 900~600 B.C., and left abundant symbols behind. I-Ching interpretation tradition is one of those great heritages. It influences those who live in the Chinese civilization deeply and greatly. The core question of this paper is: how do those who built their world views on I-Ching absorb Buddhism that came from the West, and in which form can this cultural interaction fit? To answer this question, this paper is divided into two major parts. First, the author constructs the thinking mode of I-Ching as image thinking, systematic thinking, and dialectic thinking. By image thinking, the author means that each of sixty-four hexagrams that make up I-Ching is composed of six lines, either straight or broken. A straight line signifies Yang and a broken line is Yin. These six lines belong to three categories: Heaven, Earth, and Humanity, putting the
Humanity in the middle as the organizer of the world. This “Tai-Chi, Yin/Yang, and three levels”is flowing from the image of each hexagram. Furthermore, any changed line can only be interpreted by putting it in the hexagram system, vis-à-vis 64-hexagram big system and nonsystem. I-Ching also reflects Hegelian dialectics in its text, too. The transcendental noumenon has a glimpse of thought and reaches this world through self-negation, experiences the phenomenon world, ends with the secondary harmony. This kind of I-Ching thinking has penetrated every cultural being that is willing to learn from it.
Next, the author explores three examples to illustrate how Chinese monks absorb the Buddhism ideas based on I-Ching thinking mode. They are Masters Zhih Zhe, Zung Mi, and Ou-yi Zhi-xu. Master Zhih Zhe’s “One-citta, three-vipaúyanâ” is isomorphic with “One Tai-Chi, three-levels” mode. His great efforts and contributions to evaluating Buddhistic teachings and putting into proper positions may be inspired by I-Ching as well. Zung Mi’s idea of Picture âlaya came directly from Zhou I Tsan Ton Chi, a book of interpreting I-Ching during Eastern Han Dynasty. Ou-yi Zhi-xu embodied the trend of Confucianism, Taoism, and Buddhism integrating with each other in his time. He even had written Zhou I Zen Jie, which recorded his interpretation of I-Ching in Buddhistic symbols. In conclusion, the a |
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| ISSN | 16072952 (P) |
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| ヒット数 | 2240 |
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| 作成日 | 2005.05.03 |
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| 更新日期 | 2017.07.21 |
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