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《歷代名畫記》中“妙悟”的佛教與道教源流考=The Buddhist and Daoist Origins of the Term Miaowu in the Records of Famous Paintings of Successive Dynasties
Author 柯偉業 (著)=Michael Cavayero (au.)
Source 北京大學學報 (哲學社會科學版)=Journal of Peking University (Philosophy and Social Sciences Edition)
Volumen.5
Date2023
Pages73 - 82
Publisher北京大學出版社
Publisher Url http://www.pku.edu.cn/ 或 www.pku.edu.cn/academic/xbss
Location北京, 中國 [Beijing, China]
Content type期刊論文=Journal Article
Language中文=Chinese
Keyword妙悟; 《歷代名畫記》; 僧肇; 肇論; 《南華真經注疏》
Abstract“妙悟”既是張彥遠在《歷代名畫記》中對顧愷之繪畫境界的形容,也是佛教術語滲入畫論的重要佐證之一。歷史地看,“妙悟”一詞影響了歷代中國藝術實踐的發展與品評標準。對“妙悟”的詞義進行解析,追溯其在中古佛教經典中的出處,並對比同時期的相關道教文獻去探討“妙悟”在《歷代名畫記》語境中的意涵,進而釐清張彥遠引進這一核心佛教術語的宗教與文化思想背景,將有助於我們“見微知著”地闡述佛教與道教思想對中古藝術理論產生的深遠影響。


The term Miaowu ‘wondrous enlightenment’ (妙悟; Skt. *Subuddhi, *suśikṣita), first introduced in the Records of Famous Paintings of Successive Dynasties (《歷代名畫記》, c. 847), emerged as a novel description by Zhang Yanyuan (張彥遠) for the meditative state of the Eastern Jin painter Gu Kaizhi (顧愷之). This usage exemplifies the integration of Buddhist terminology into early artistic theory, impacting subsequent Chinese artistic praxis and its critical vocabulary. This study analyzes the lexical meanings of Miaowu, tracing its origins through early medieval Buddhist texts and comparing it with contemporary Daoist sources. Through this, the paper examines Miaowu within the Records of Famous Paintings of Successive Dynasties, revealing the religious and cultural contexts underlying Zhang Yanyuan’s adoption of this critical Buddhist term. The analysis illuminates the profound influence of Buddhist and Daoist ideations on the formation of early medieval artistic theory, yielding a nuanced understanding of their enduring impact.
Table of contents一、妙悟”的佛教溯源 74
(一) 僧肇對“妙悟”一詞的創造 74
(二) “妙悟”在隋唐佛教文獻中的發展 75


二、道教重玄學家《南華真經註疏》中的“妙悟” 78

三、《歷代名畫記》中“妙悟自然”的解讀 80
(一) “自然”作為“妙悟”的搭配詞的基本含義 80
(二) 張彥遠對“妙悟自然”一詞的繼承 81
ISSN02575876 10005919 (P); 10005919 (E)
Hits99
Created date2025.02.05
Modified date2025.02.18



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