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姚鸣京的山水画流露出浓重的禅学意味,这使他在当代与历史的视野中获得了一个独特的坐标点。自从印度佛学在汉末传入中国以来,丰富了中华民族的文化。然而,佛教那种彻底的出世思想又与儒家入世的观念有些抵触。于是,在此后的数百年中,一种中国本土化的佛学——“禅”逐渐产生。到了唐代,“禅”已经不是用中国的名词和观念来阐释印度佛学,而是完全植根于中华文化土壤而结出的果实,是一种融儒、道、释为一体的文化观念。这种新型的文化观念强调把菩提拉进心中,把乐土建立在人间,宗教色彩逐渐淡化。如果说魏晋玄学及佛学只是强调把作者的情感整个地依附于服从于对道(或法身)的观照,是“澄怀观道”、“以形媚道”的话,那么唐宋时期,禅道观念更多地体现为一种精神体验,一种生活态度。
Yao Mingjing’s landscape paintings reveal a strong sense of Zen, which gives him a unique coordinate point of view in contemporary and historical perspectives. Since the Buddhism in India came to China in the late Han Dynasty, it enriched the Chinese culture. However, the complete idea of Buddhism that was born out of hand contradicted the Confucian concept of joining the WTO. Thus, in the ensuing centuries, a kind of Buddhism in China, “Zen”, gradually emerged. By the Tang dynasty, “Zen” did not use the Chinese nouns and concepts to interpret the Indian Buddhism but was the fruit that was completely rooted in the soil of the Chinese culture. It was a kind of cultural concept integrating Confucianism, Taoism and Buddhism. This new cultural concept emphasizes bringing Bodhi into the heart, building the paradise on earth, and gradually reducing the religious tone. If the metaphysics and Buddhism in the Wei and Jin dynasties simply emphasized that the author’s feelings should be wholly attached to obeying the view of the Tao (or Dharmazan) Taoism more reflected as a spiritual experience, a life attitude.