中国美学中的幻境说

On the Theory of "Huanjing" in the History of Chinese Aesthetics

幻境说是中国美学中一重要却长期为学界所忽视的审美学说。空幻观念在中国艺术功能观与价值论等层面的渗透和影响,为幻境说的出场营造了独特的氛围。中国古代思想家关于幻境的阐述尽管并不系统、严密,但对于幻境说的现代展开具有不可忽视的意义。作为一种审美学说,幻境具有非实在性、不落有无、即幻即真三大特征。幻境说有着深厚的哲学根源,主要源于佛禅哲学中的即色即空、即幻即真思想。

In the texts about Chinese aesthetics, it is no denying the fact that thought of illusion have permeated through the discourse of art＇ s ontology, such as function and value. Despite all that many thinkers discussed this topic scatteredly and imprecisely,the meaning of it is assignable as people to develop the theory of ＂Huanjing＂ （幻境）in modern academic context. There are three characteristics of ＂Huanjing＂ （幻境）. It is unsubstantial, and it is very hard to identify such a state as existence or not. It is real yet non-existant. It is void yet not without existence. The aesthetic theory of ＂ Huanjing＂ （幻境） rooted in profound philosophy. Primarily, it stemed from the idea of ＂understanding of emptiness via Matter in itslf＂, and it was caused by the idea of ＂in contact with everything it is real＂ too. Both of ideas came from Buddhism and zen Buddhism.