试论京剧《天女散花》的佛教美学意蕴

On Buddhist Aesthetic Implication of Beijing Opera The Heavenly Maids Scatter Blossoms

梅兰芳的新编神话剧《天女散花》的创作动机重在舞蹈,然而戏曲所依据的故事蓝本是佛经《维摩诘经》,《维摩诘经》本身具有戏剧色彩,故事性强,所蕴含的佛理非常深刻。从佛教美学的角度来看,二者的结合在不经意间展现出特殊的意趣———舞台呈现的美恰成为色相,与谈论空性的主旨相得益彰,形成了色空不二的美学意蕴。

The motive of Mei Lanfang’s new myths story The Heavenly Maids Scatter Blossoms values the dance.However,it is based on Buddhist Scripture Vimalakirti-nirdesa-sutra,which is full of dramatic narrative and profound Buddhist doctrine. In the view of Buddhist aesthetics, the rearrangement casually shows special application:compared the different forms of beauty on the stage with the topic of essence empty,it forms the Buddhist aesthetic implication "scene is hollow namely"and "it is color namely for nothing".