| 禅诗审美境界论 |
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| 引用本文： | 吴言生.禅诗审美境界论[J].陕西师范大学学报(哲学社会科学版),2000,29(1):61-67. |
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| 作者姓名： | 吴言生 |
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| 作者单位： | 陕西师范大学,文学研究所,陕西,西安,710062 |
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| 摘 要： | 禅宗诗歌表达独特的禅悟体验，其审美境界的范型是一切现成现量境、水月相忘如如境、珠光交映圆融境、任运随缘日用境。现量境羚羊挂角，无迹可求；如如境能所双亡，色相俱泯；圆融境珠光交映，重重无尽；日用境饥餐困眠，脱落身心。体证禅诗审美境界，对建构21世纪中国禅诗研究学、整合传统诗学的境界论有着重要的现实意义。
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| 关 键 词： | 禅诗 审美 现量境 如如境 日用境 |
| 文章编号： | 1000-0000(2000)01-0061-07 |
| 修稿时间： | 1999年9月9日 |
On Aesthetic Consciousness of the Chan Sect Poetry |
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| WU Yan,sheng.On Aesthetic Consciousness of the Chan Sect Poetry[J].Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition),2000,29(1):61-67. |
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| Authors: | WU Yan sheng |
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| Abstract: | There are four types of typical aesthetic consciousness in the Chan Sect Poem as follows:(1)to understand object directly with the senses, while abandon logic thinking; (2)shinning upon each other like the inter reaction between water and the moon; (3)to absorb and mix together like the brilliance of pearls; (4)to feel the truth in daily life. To savour this four typies of consciousness is very important for us to construct the study of Chan Sect Poetry of China during the twenty first century. |
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| Keywords: | Chan Sect Poetry aesthetic Xianliang Imagery Ruru Imagery Daily Life Imagery |
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