“心境互渗”与审美境界——以中国茶道为中心

The Mutual-Permeation of Mind and Scene and the Formation of Aesthetical Realms:Focusing on the Chinese Tea-Ceremony

本文从"心""境"关系来探讨中国茶道美学的境界问题。基于"心境互依"而实现的"心境互渗",是审美境界之所以生成的一般特征,具有审美发生学上的普遍意义。"境况"是现场实况,而"境界"的现起则是对于"境况"的超越性转换。"境因心起"或"心能转境"是以"心境互渗"为基本条件而生成的审美境界。"心"是境界得以建构的"灵源",是主体心灵在当下境况之下所实现出来的心灵场域,因此一切"境界"皆为"意境",是自身之"心意"与"意义"得以呈现的基本形态。"心不起境"或"心境双泯"是无言之境,蕴含对于生命与存在之究竟实相的终极体悟,是究竟的生命境界,也是最高的审美境界。

This article interprets the aesthetical realms of Chinese tea-ceremony in different ways of relationship between mind and scene. The author identifies three kinds of relationship:(1)the mutual dependence or permeation of mind and scene,(2)the presentation of scene depending on mind or the mind transforming the way of scene presentation,(3)the mind doesn’t present the scene or the both of mind and scene returning to naught. The author argues that to realize the mutual permeation of mind and scene based on their mutual dependence is a general characteristic of aesthetical realm formation so that it has a universal meaning in aesthetics. The presentation of scene depending on the mind or the mind transforming the presentation way of scene is, as an aesthetical realm, based on the realization of the mutual permeation between the mind and scene. Since the mind is the only spiritual source of any aesthetical realm formation, the realm is nothing but a mind field that is realized by the subject’s mind in specific circumstances. Therefore, any realm of aesthetics is a realm of mind in which the subject’s mind and its meaning presented. However, when the mind doesn’t present the scene and both the mind and scene returning to naught, as a realm of wordless, it is the highest realm of aesthetics, since in which the subject’s immanent realization of life and the ultimate reality of life are implied.