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禪宗境界美學─以《六祖壇經》為中心研究=Aesthetics of the realm-《Platform Sutra of the Sixth Patriarch》as the core focus |
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| 著者 |
黃文欣 (著)=Huang, Wen-hsin (au.)
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| 出版年月日 | 2014 |
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| ページ | 155 |
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| 出版者 | 國立高雄師範大學美術學系 |
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| 出版サイト |
https://arts.nknu.edu.tw/
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| 出版地 | 高雄市, 臺灣 [Kaohsiung shih, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 中文=Chinese |
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| 学位 | 修士 |
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| 学校 | 國立高雄師範大學 |
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| 学部・学科名 | 美術學系 |
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| 指導教官 | 陳政揚=Chen, Zheng-yang, 李錦明=Lee, Chin-ming |
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| 卒業年 | 102 |
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| キーワード | 惠能=Hui Neng; 六祖壇經=Platform Sutra of the Sixth Patriarch; 禪宗=Ch’an; 境界=realm; 美學=aesthetics |
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| 抄録 | 本論文以「禪宗境界美學─以《六祖壇經》為中心研究」為研究的範疇，旨在探究與闡述禪宗境界美學。境界對於禪宗而言相當重要，禪宗以「心」為一切開端，強調心能產生萬法，然而境也透過心所造就。因此可以說，境界包含精神的層面、生活的層面。境界於虛空中呈現出空間之感，難以用文字推疊所形容，需要靠自身親身體驗的一門功夫哲學。全文以《六祖壇經》作為經文主要佐證，回歸至文獻本身。因此，透過經文所呈現的義理予以分析、論述、印證，不以定義的方式表述，盡可能用描述性的方式去呈現禪宗思想，以期望能更貼近禪宗所要呈現核心概念以及宗旨。其次，惠能本身不識文字，並強調不立文字，因此所述為心傳的方式，意即不執著於一切有為法。本文試圖探究其義理相同處，而非著墨於文字相，拋開禪宗視為宗教領域之印象，藉由實際例子以利禪宗理論捨其形態，以境界的意予以表述，非執著於本然以為。若順此言之，將禪宗論述運用其藝術作品、境界美學、文學作品以及生活美學之上。
境界美學使得自身所處的世界，透過本身作為，達到於此境界內呈現好的狀態，被帶出美的成分，視為面對不同境界，所產生之生活態度與美學觀，所談論為心所造種種萬物的面向，影響至美感的呈現。禪宗美學呈現出一種境界的展現，結合至禪宗對於六根接觸於對象，延伸至境界美學精神，所帶出的藝術之美，無住、無念、無相拋開一切所執著，達到另一種境界，為一種自性清淨的心靈境界，透過平等所產生不二之性美學觀的問題展開討論。研究要談論的是，心的思維以及精神所敞開之世界，進而影響對於藝術的鑑賞以及生活層面。每章節前後關聯性以《六祖壇經》為架構核心，一致性顯現出境界美學，從各角度與思維予以探究其境界。
This thesis explores the aesthetics of the realm in Buddhist ideal in Ch’an Buddhism, with the “Platform Sutra of the Sixth Patriarch” as the core focus of the research. It investigates and details the concept of aesthetics of the realm in the sutra. The realm of the Buddhist ideal occupies a significant position in Ch’an Buddhism. The concept of the ‘heart’ signifies the origins or source of all matters, and the heart’s ability to generate all matters of existence or dharma is emphasized in Ch’an Buddhism. Meanwhile, the heart can also give rise to the various realms. It can be said that realms encompass both spiritual and physical aspects. When juxtaposed with emptiness or vacuum, realms give rise to the spatial sense. This philosophical concept could hardly be described effectively with words and should instead be experienced. This paper, focusing on the “Platform Sutra” as an important Buddhist scripture, encompasses a detailed examination of the original scripture. Rather than relying on conceptual definitions, this paper examines the original scripture in detail in order to further our understanding of the Buddhist scriptures through the analysis of its contents and argumentation as far as possible. The paper also adopts a narrative approach in its presenting the philosophies and thoughts contained in Ch’an Buddhism to better illustrate the core concepts and thoughts contained in the scriptures. Additionally, it should be noted that as Hui Neng was illiterate and had emphasized the transmission of knowledge without text, what was narrated or documented in the scriptures had been transmitted ‘by heart’ rather than through words. As such, this paper seeks to understand the thoughts encompassed in the scriptures rather than the written word itself, as well as to disregard the common perception of Ch’an Buddhism as a formal religion. It uses concrete illustrations to give form to abstract concepts and examines the narratives of the realms, rather than focus on any precise definition of the written word. Following this line of thought, this study applies the discussions on Ch’an Buddhism to artistic expressions, aesthetic studies, literature and lifestyle aesthetics.
The aesthetics of the realm in the Buddhist ideal focuses on the world in which the self or body is located within. Through the actions of the self, one is connected and united with the various realms. This process brings forth elements of beauty, and the outlooks and aesthetic senses that arise from such interaction with different realms, as well as various worldly matters that arise from the heart, influence our perception and representations of aesthetics. The aesthetics of Ch’an Buddhism represents the ideal realm through a combination of its perspective on the physical, sensory aspects and which is extended to the area of aesthetics of the ideal realm. From this emerges artistic beauty, characteristics of selflessness, detachment and temporariness and to abandon all worldly attachment in order to enter an alternative realm. This is akin to a self-purification process for one’s spiritual realm. Buddha nature is also revealed from such perception of aesthetics that emerged from egalitarianism. This research explores the vast world opened up by the thoug |
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| 目次 | 摘要 I
ABSTRACT II
誌 謝 IV
目 錄 V
表目錄 VI
圖目錄 VII
第一章 緒論 1
第一節 研究動機 1
第二節 研究方法與步驟 4
第三節《六祖壇經》起源與背景 9
第四節 文獻探討 15
第二章 禪宗美學思想要旨 22
第一節 以空存有的形上學進路 22
第二節 破執顯真的知識論進路 30
第三節 無心應化的境界論進路 37
第三章 《六祖壇經》境界美學要旨 45
第一節 自性清淨的美學境界 45
第二節 善惡雙離的保存功夫 53
第三節 超然物外的觀物慧見 60
第四章《六祖壇經》境界美學鑑賞 68
第一節《六祖壇經》在文學上的鑑賞 68
第二節《六祖壇經》在繪畫上的鑑賞 77
第三節《六祖壇經》在生活上的鑑賞 88
結論 97
參考書目 101
參考圖板 112
附錄 139 |
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| ヒット数 | 66 |
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| 作成日 | 2024.08.21 |
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| 更新日期 | 2024.08.21 |
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