后世对董其昌“一超直入”“积劫方成”的体用

A Better Understanding and Using on the Part of Later Generations of“Enlightenment Achieved at One Stroke”and“Enlightenment Achieved Through Accumulation”

“一超直入”“积劫方成”摘录自明代时期董其昌的书画理论。佛教之法传入我国,禅宗悟道则以“顿悟”“渐悟”二分通往各自觉悟的不同法门。本文借以分析、引用文献的方法从逻辑的角度层层深入,于我国禅宗特定的语境中观“一超直入”与“积劫方成”,并列举中西方针对“顿悟”“渐悟”问题的考究给予一定程度的探讨,来更好地理解“一超直入”与“积劫方成”。由此带来反思:中西方语境下可见“一超直入”与“积劫方成”,“顿悟”与“渐悟”中存在相对模糊性,并对其模糊性进行分析,进而探究我国继明代之后对“一超直入”“积劫方成”的时代理解与文化体用。

“Enlightenment Achieved at One Stroke”and“Enlightenment Achieved Through Accumulation”are excerpts from Dong Qichang’s calligraphy theories during the Ming Dynasty.When the Buddhist method was introduced into our country,the Zen enlightenment notion led to binary methods of enlightenment by“Epiphany”and“Gradual Realization”.This article uses the method of analyzing and citing documents to go deep step by step by virtue of logical development.Through putting“Enlightenment Achieved at One Stroke”and“Enlightenment Achieved Through Accumulation”in the specific context of Zen Buddhism in our country and citing as an instance the research on the problems of“Epiphany”and“Gradual Realization”in China and West,we will have a better understanding of“Enlightenment Achieved at One Stroke”and“Enlightenment Achieved Through Accumulation”.This leads to another reflection:in the context of both China and West,it can be seen that there is relative ambiguity between“Enlightenment Achieved at One Stroke”and“Enlightenment Achieved Through Accumulation”,“Epiphany”and“Gradual Realization”,so the ambiguity is analyzed.Then it explores the issue of our understanding of the times and cultural application of“Enlightenment Achieved at One Stroke”and“Enlightenment Achieved Through Accumulation”after the Ming Dynasty.