中国书法审美现象考论:基于“唯识无境”视域

On the Aesthetic Phenomenon of Chinese Calligraphy Based on the Perspetive of “Idealism”

"唯识无境"是佛法唯识学的核心理论,是对宇宙一切法的独创解释。从唯识学角度解读中国书法现象迄今少有学者探索。结合唯识论经典和当今学人相关著作,从唯识无境观点出发探索书法审美现象,阐述书法作为不离心识的外境而存在,中国书法审美现象也在阿赖耶识本识为依止的种熏现行中得以理解。"转识成智"是唯识学依于佛陀所证境界而为引导众生最终成就无住涅槃所安立,中国书法创作表达自然抽象和心性审美境界,唯识学和中国书法审美归趣具备相融性和不共性。相融性体现为唯识观修行运用书法可以表征和引渡佛法,书法即佛教修行妙用法门。不共性体现为唯识学终极目标的无住涅槃境界和中国书法的世智审美心理趋向不同等多个方面。从"唯识无境"理解书法现象,有助于深入解读佛教佛法和书法艺术二者之间的究竟关系。

The theory of“idealism”is the core theory of Vijbanavada and the creative explanation of all laws of the universe.There are few scholars in exploring the phenomenon of Chinese calligraphy from the perspective of Buddhist Vijnnanavada.Combining the Vijnnanavada classics with the current scholar’s relevant works,this paper explores the aesthetic phenomenon of calligraphy from the perspective of Vijbanavada,and expounds that calligraphy exists as an external environment without centrifugation,and the phenomenon of Chinese calligraphy is also understood in the current situation of Araya’s cultivation.“Turning knowledge into wisdom”is the basic method of practicing Buddhism,Chinese calligraphy expresses the natural abstraction and psychological aesthetic realm.Vijbanavada and aesthetic attribution of Chinese calligraphy are compatible and different.The compatibility is embodied in the use of calligraphy to represent and extradite Buddhist practices.Calligraphy is the the magic way of Buddhist practices.The non-commonalities are manifested in the realm of nirvana,which is the ultimate goal of idealism,and the different tendency of worldly wisdom and aesthetic psychology of Chinese calligraphy.Understanding the phenomena of calligraphy from the perspective of“idealism”is helpful to further understand the relationship between Buddhism and calligraphy art.