法海本《坛经》的美学意蕴

The Aesthetic Connotation of “Tan Jing” of Fahai Edition

法海本《坛经》的基本佛学思想之一，是佛性说而非般若义。以"空"为执、追摄佛性圆成或倡言"空空"、无所执着，是佛性说与般若义在"终极"问题上的一大基本分野。"无念"，作为《坛经》美学意蕴的中心"话题"，在世间即出世间的人生领悟中，即指佛性，它是被颠倒、夸大的完美人性。将佛降格为人，等于将人与人性提高到佛与佛性的高度，这是《坛经》审美理想的曲折体现。"见性成佛"、"即心是佛"、自救"自度"、"自心"顿悟、"本性"回归，实际是以佛禅方式所表述的人的一种精神性解放。而"自度"("真度")说，不啻宣告"他佛"的"死亡"，这在中国佛教史、思想史与美学史上具有重要意义。《坛经》所主张的无生无死、无染无净、无悲无喜的禅悟(顿悟)境界，有如王维禅诗的禅悟与诗悟同一，是一种"元审美"境界。

One of the basic Buddhist philosophical thoughts of Ta n Jing (Fahai edition) is Buddhist nature than Bo Re (enlightenment) theory. Buddhist nature differs from Bo Re theory in ultimate pursuit in that Buddhism regards the 'emptiness' as its doctrine, which seeks Buddhist perfection or advocates 'unreality of unreality'. 'No desire', the topic of Tan Jing, refers to Buddhist nature, which is confused and exaggerated perfect human nature. Reducing the Buddhist to a human is just the same as elevating a human and human nature to a Buddhist and Buddhist nature, which reflects the aesthetic connotation of Tan Jing. Saving-oneself theory declares the 'death' of the 'other Buddhist', and this is of great significance in Chinese Buddhist history, ideological history and aesthetic history. Like Wang Wei's ideal of realization of the truth, eliminating the division between life and death and having no worldly disturbance and no common feelings as advocated by Tan Jing is an ideal of fundamental appreciation of beauty.