禪美學中藝術主體性與美感境界之闡釋──廓庵《牧牛圖頌》之意涵

An Interpretation of the Art Subjectivity and Aesthetic State of Mind in Chan (Zen) Aesthetics - The Implications of ＂the Verses of the Ox- Herding Pictures＂ by K'uo-an

藝術創作者與藝術教育者經常關注藝術主體性與其美感境界之議題。《牧牛圖頌》涉及禪宗美學心源論，且有細膩之哲學隱喻，而適當地呈顯最高之生命主體性與美感境界，以及自我學習、修為與應用之原理。本文旨在針對其十個「頌」（含「序」）之內容加以分析與闡釋，且由此據以比較與討論其意義與意涵。具體而言，本文之目的包括：（一）探討禪宗《牧牛圖頌》中生命主體性追尋之隱喻；以及（二）闡釋《牧牛圖頌》隱喻中藝術主體性與美感境界之意涵。本文歸納主體性發展階段之傾向與關係。此外，關於美學意涵，本文首先闡明最高藝術主體性即本覺（真我、自性、如來藏、佛性、或般若），此與Kant之睿智的直覺、或Husserl之本質的直覺與純粹的直覺等相應，以及最高藝術主體性之修學與實現；其次，分析最高美感境界之五種範疇。

The artist and art educator are usually concerned with the issues of art subjectivity and aesthetic state of mind. The ＂The Verses of the Ox-Herding Pictures＂ by K'uo-an involves the heart-origin conception of Chan Zen Aesthetics, and has subtle philosophical metaphors, appropriately revealing the highest subjectivity and aesthetic state of mind, as well as the principles of self- learning, cultivation , and application. This article aims to analyze and interpret the content of the 10 verses (including prefaces), and hence to compare and discuss their meaning and implications. Specifically speaking, the objectives of this article include: (a) to inquire into the metaphors of life subjectivity-searching in ＂the Verses of the Ox-Herding Pictures＂; and (b) to interpret the implications of ＂the Verses of the Ox-Herding Pictures＂ for art subjectivity and aesthetic state of mind. This article reduces the inclinations and relationships of subjectivity-developmental stages. Besides, concerning the aesthetic implications, this article firstly interprets the highest art subjectivity as the self-existing wakefulness or self-knowing original awareness (the genuine self, Self-nature, tathagatagarbha, Buddha-nature, or prajna), correspondent to Kant's intellectual intuition, or Husserl's essential intuition and pure intuition, as well as the cultivation, learning, and realization of the highest art subjectivity; and secondly analyzes five categories of the highest aesthetic state of mind.