藝術與宗教的融合──茶禪一味

Arts and Religion in Harmony: Tyazenichimi

本論文遠以千利休所集創成的茶禪一味之茶道為背景，透過對岡倉天心、柳宗悅、久松真一的茶道論理解，嘗試探討日本近代藝術與宗教的關係。本論文首先找出天心所體悟的茶禪一味之境地，並檢證其追尋相對有的不完全之禪精神，即絕對無之精神裡潛伏著天心的主體性營為，也就是以美來匡救世界的還相行。其次，找出柳宗悅的茶道論裡不僅含有茶禪一味的境地甚至還包含有其自身在民藝中的他力信仰，並論證其所謂的茶道美必須透由自力修禪的茶人與他力制作的民藝品之邂逅才能得以成立。最後檢視久松的宗教哲學形成過程，並考察其「東洋的無」轉換為更具積極性的「能動的無」之思想，換言之即考察其帶有淨土宗還相思想的「絕對主體道」，進而論及久松以「絕對主體道」為基礎所展開的茶禪一味之茶道論。藉由以上三者的茶道論來檢證日本近代藝術與宗教的關係中禪與淨土宗的滲透。

In this paper we attempt to reveal the Zen and t he ”Zyoudosyuu” that permeate in the interweaving arts and religion in the contemporary history of Japan. To do so, we review the Sadou theories proposed by Okakura Tenshin, Yanagi Muneyoshi, and Hisamatsu Shinichi, and relate them to the spirit of ”Tyazenichimi” in the Sadou as amalgamated and vamped by Sen Rikyu. Firstly, we interpret the spirit of ”Tyazenichimi” as connoted in Okakura's Sadou theory. Furthermore, we exhume the spirit of Zen as implied in his contemplation of the imperfection of the Being. In other words, the animus of Okakura's ”Zettaimu” was embedded in his subjective behavior -the ”Gensougyou”, i.e., to redeem the world with comeliness. Secondly, we unveil the ”Tyazenichimi” in Yanagi's Sadou theory, and also the ”Tariki” belief as implied in his ”Mingei”. In addition, we demonstrate that the comeliness of Sadou culminates when the self-enlightened Zen sage encounter s the celestially enlightened ”Mingei” artwork. Lastly, we explore the mutation of Hisamatsu's philosophy of religion from the ”Touyoutekimu” to the even more zealous ”Noudoutekimu” -i.e., the ”Zettaishyut aidou”, which render s the thinking of ”Gensou” as in the ”Zyoudosyuu”. We fur t her deliberate on the Sadou theory of ”Tyazenichimi”- which is developed from his ”Zettaishyutaidou”.