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文艺理论研究

文艺理论研究 ›› 2017, Vol. 37 ›› Issue (1): 125-133.

• 西方文论与美学研究 • 上一篇    下一篇

空为果论——佛教美学的构造前提

王耘   

  1. 苏州大学文学院
  • 出版日期:2017-01-25 发布日期:2017-11-11
  • 作者简介:王耘，文学博士，苏州大学文学院教授，硕士生导师，主要研究方向：中国美学史，宗教美学等。

The Void as the Effect: the Constructive Precondition of Buddhist Aesthetics

Wang Yun   

  1. the School of Humanities, Soochow University.
  • Online:2017-01-25 Published:2017-11-11
  • About author:Wang Yun, Ph.D. of Literature, is a professor at the School of Humanities, Soochow University. Address: SIP, Suzhou (Jiangsu 215123, China). His research interests cover the history of Chinese aesthetics, religious aesthetics and so on.

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摘要： 空若作为美学概念出现，视空为果，乃其不可或缺之条件。如果把因果理解为一种时间“序列”的话，“果”无疑是此过程的终点。这一“序列”本身蕴涵的是理性的求索，强调终点，则确立了审美的视界。空的历史发展表明，它越来越果位化了，越来越偏重于对心识所转，心意所得这一结果的证明以及描摹，越来越趋近于一种审美范畴。

关键词: 空, 果, 佛教, 美学

Abstract: If the "void" is taken as an aesthetic concept, the idea of the "void as the effect" should be its indispensable condition. If "cause and effect" is understood as a kind of time sequence, then "effect" is undoubtedly the end of this process. This "sequence" indicates the pursuit for reason and emphasis on the end, and thus it establishes the aesthetic vision for the "void". The development of the idea of the void has revealed that it is getting increasingly result-oriented with more emphases on proving and tracing the result that one gets what the mind turns to. Thus the idea of the void is becoming an aesthetic concept.    

Key words: the void, effect, Buddhism, aesthetics