生生之理与意境观念的转化——禅宗空观对儒家诗论的挑战及唐宋儒学的回应

The Challenge of Zen’s Concept of Artistic Conception to Confucian Poetics and the Response of Neo-Confucianism

唐代意境观念的生成虽有本土思想资源的影响,但禅宗的作用却更为直接。其有关色空、无相之我、刹那的观念为意境说的生成提供了认识论的基础。儒学对于佛教挑战的回应,自诗论而言,即为在新的认识论的基础上转化意境说的内涵。相较于中晚唐儒学依赖于现实经验及回眸传统的回应路径,理学以生生之理的阐明为新意境说提供了认识论条件,也使得宋型的意境说具有了对于宇宙万物新的识见与体悟,生命的安顿与历史的价值亦有了稳定的基础。意境说在“唐—宋”间的转化或扩容,则提醒自“意”之视角考量意境的必要,由此意象、意境、境界方能得到较贯通的理解。

Although the generation of artistic conception in the Tang Dynasty is influenced by local ideological resources,the role of Zen Buddhism is more direct.Zen’s concepts of nothingness,animitta and ksana provide a epistemology basis for the generation of artistic conception theory of Tang poetry.The response of Confucianism to the challenge of Buddhism,from the perspective of poetics,is that transforming the Connotation of artistic conception on the basis of new epistemology.Compared with Confucianism in the Middle and Late Tang Dynasty relying on practical experience and tradition,Song-Confucians provide epistemology conditions for the generation of the new artistic conception theory with the consideration of the heavenly principle,that is,the living principle.It makes the theory of artistic conception in the Song Dynasty gain a new understanding and insight into the whole creation,and the settlement of life and the value of history have also established a stable foundation.The transformation or expansion of the theory of artistic conception between the Tang and Song dynasties reminds us of the necessity of considering artistic conception from the perspective of meaning,from which imagery,artistic conception,and realm can be understood more comprehensively.