论慧远之“神趣”说

发布时间：2018-01-15 11:28

本文关键词：论慧远之“神趣”说　出处：《文学遗产》2012年06期 　论文类型：期刊论文

【摘要】：东晋慧远不仅以自觉的审美态度研究佛教,其佛学著述充满了浓郁的审美之思;而且拓展了支遁所发轫的"佛教山水"美学,以佛教的情怀圆照山水与艺术,在中国佛教美学史上第一次提出了以"神趣"说为核心,以"神"、"兴"、"情"、"理"、"丽"、"趣"、"味"、"境"为构成要素的系列美学范畴,从而使佛理与审美圆融泯合。其美学思想的形成标志着中国佛教美学的深化与成熟,并深刻影响了山水美学的基本品格。
[Abstract]:Huiyuan of the Eastern Jin Dynasty not only studies Buddhism with a conscious aesthetic attitude, but also his Buddhist works are full of rich aesthetic thoughts. Moreover, it has expanded the aesthetics of "Buddhist landscape", which originated from Zhi Dun, and illuminated the landscape and art with Buddhist feelings. For the first time in the history of Chinese Buddhist aesthetics, it put forward the theory of "God's interest" as the core, "god" and "prosperity". "emotion", "reason", "Li", "interest", "taste" and "boundary" are the series of aesthetic categories that constitute elements. The formation of its aesthetic thought marks the deepening and maturity of Chinese Buddhist aesthetics and deeply influences the basic character of landscape aesthetics.
【作者单位】：安徽师范大学文学院;
【基金】：国家社会科学基金项目“魏晋经学与诗学关系研究”(08BZW032)成果之一
【分类号】：B83-092
【正文快照】： 东晋慧远不仅在佛教上影响深远,在美学上也卓有建树。与一般佛教徒不同的是,他以自觉的审美态度研究佛教,其佛学著述充满了浓郁的审美之思;而且拓展了支遁所发轫的“佛教山水”美学,以佛教的情怀圆照山水与艺术,在中国美学史上第一次提出了以“神趣”为核心,以“神”、“兴”

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