摘要
学界关于唐人王昌龄的“意境”说,一向歧义互见,争论不断。本文试从佛学角度加以解读,认为王昌龄“意境”说,是其“诗有三境”说之最重要的思想成果。而其“诗有三境”说,主要由熔裁佛学“三识性”而来。所谓“诗有三境”,指诗有三种审美心灵品格与境界。从佛教美学角度分析,所谓“物境”、“情境”,仅“物累”、“情累”而已。惟有“意境”作为“真”境,才是无悲无喜、无善无恶、无染无净、无死无生之空灵的一种“元美”境界,在本体上,“意境”趋转于空与无之际。
This paper intends to explain Wang Changling＇ s ＂artistic conception＂ from an angle of Buddhism. ＂Artistic conception＂ is the most important production of the parlance ＂poetry has three conceptions＂, whichmeans poetry has three aestheitc inwardnesses. In the light of Buddhist aesthetics, the so-called ＂thing-conception＂ and ＂feeling-conception＂ are no more than ＂thing-obsession＂ and ＂feeling-obsession＂. Only the ＂artistic-conception＂ is the ＂real＂ conception on the level of meta-aesthetics, and ontologically in the realm of nothingness. conceptions; tri-svabhava
出处
《复旦学报（社会科学版）》
CSSCI
北大核心
2006年第2期94-101,共8页
Fudan Journal（Social Sciences）
关键词
王昌龄
意境
诗有三境
三识性
artistic conception
Wang Changling
poetry has three
