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唐王昌齡“意境”說的佛學解=A Buddhist Interpretation of Wang Changling's "Artistic Conception" |
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王振復 (著)=Wang, Zheng-fu (au.)
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| Source |
中國古代、近代文學研究=Research in Classical And Modern Chinese Literature
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| Volume | n.8 |
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| Date | 2006.08.25 |
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| Pages | 141 - 148 |
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| Publisher | 中國人民大學書報資料中心文化編輯室 |
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| Location | 北京, 中國 [Beijing, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Keyword | 王昌齡=Wang Changling; 意境=artistic conception; 詩有三境=poetry has three conceptions; 三識性=tri-svabhava |
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| Abstract | 學界關於唐人王昌齡的“意境”說，一向歧義互見，爭論不斷。本文試從佛學角度加以解讀，認為王昌齡“意境”說，是其“詩有三境”說之最重要的思想成果。而其“詩有三境”說，主要由熔裁佛學“三識性”而來。所謂“詩有三境”，指詩有三種審美心靈品格與境界。從佛教美學角度分析，所謂“物境”、“情境”，僅“物累”、“情累”而已。惟有“意境”作為“真”境，才是無悲無喜、無善無惡、無染無淨、無死無生之空靈的一種“元美”境界，在本體上，“意境”趨轉於空與無之際。
This paper intends to explain Wang Changling’s "artistic conception" from an angle of Buddhism. "Artistic conception" is the most important production of the parlance "poetry has three conceptions", whichmeans poetry has three aestheitc inwardnesses. In the light of Buddhist aesthetics, the so-called "thing-conception" and "feeling-conception" are no more than "thing-obsession" and "feeling-obsession". Only the "artistic-conception" is the "real" conception on the level of meta-aesthetics, and ontologically in the realm of nothingness. |
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| Table of contents | “三識性”：佛教境界的三品格、三層次 141
“詩有三境”：詩歌境界的三品格、三層次 143
“意境”說接受佛學影響並非偶然 147 |
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| ISSN | 10012893 (P) |
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| Hits | 238 |
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| Created date | 2016.10.03 |
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| Modified date | 2020.01.16 |
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