Master Ouyi′s Artistic Thoughts from the Perspective of the Unison of Confucianism and Buddhism

学术界对作为晚明四大高僧之一的蕅益大师研究甚多，但对其艺术思想的阐释却并不多见。蕅益大师的艺术思想既有护持佛教戒律传统、不赞成从事艺术活动的一面，又有推重艺术并力倡艺术可为“文字般若”乃至“究竟般若”的一面。以后者为代表的蕅益大师艺术思想，体现了他儒佛会通、以佛统儒的立场和方法：一方面，其艺术思想的生成在一定程度上得益于对明儒狂禅思潮的反拨；另一方面，对儒家“学道说”的援引，以及在儒家“道器说”基础上创立的“法器说”，为其艺术思想的形成提供了理论基础。蕅益大师的艺术思想无疑是佛教的，但在其艺术思想的渊源上又随处可以见到儒佛会通的踪影。As one of the four most eminent monks at the end of the Ming Dynasty, Master Ouyi is well known in the aca-demic world.However, there is little research on his artistic thoughts, which can be divided into two seemingly contradicto-ry sides:opposing artistic activities out of Buddhist convictions and favoring the arts at the same time because of his view a-bout Text Prajna.He says that art may be Text Prajna, which is among the Supreme Prajnas.This idea stems from his theo-ry about the unison of Confucianism and Buddhism.Master Ouyi opposes Arrogant Zen, one branch of Confucianism at the end of the Ming Dynasty, which affects his artistic thoughts.Drawing on the Confucian theory of the relation of Tao and learning, he establishes his own theory of Dharma instruments, which is based on the theory of the relation of Tao and in-struments of Confucianism.Obviously, Master Ouyi′s artistic thoughts belong to Buddhism, but their background lies in the theory of the unison of Confucianism and Buddhism.浙江省哲学社会科学规划课题《民国四大高僧法艺初诠》; 浙江省社会科学界联合会研究课题《佛教教理观照下的民国四大高僧艺术活动研究》(2013N224)的阶段性成果之一。475-8