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On the Features of Oriental Aesthetics
Venerable Master Hsing Yun’s Aesthetics of Nature
There are three major aspects to Venerable Master Hsing Yun’s aesthetic of nature. One is the idea that heaven and earth are like literary works, which implies an aesthetic narrative of nature. Through the narrative of nature, humans can experience and reflect on the world. Venerable Master Hsing Yun advises that humans stay close to nature so as to broaden their minds and understand the art of learning. The beauty of the narrative of nature lies in the aesthetic of viewing objects in terms of objects, i.e., viewing them from an impersonal perspective. The second aspect is the idea that all sentient beings are equal. Venerable Master Hsing Yun is kind and compassionate to animals and advocates harmony between humans and the rest of the natural world. The third aspect is Venerable Master Hsing Yun’s view on the relationship between Chan and nature, i.e. there is a connection between Chan and the beauty of nature. His view on the aesthetics of nature is deeply influenced by Buddhist concepts such as the three Dharma seals, the theory of dependent origination, all phenomena are nothing but mind, a mind of equality, Chan thought, and Humanistic Buddhism.
Editor’s Preface
In Buddhism, the concept of upāya kauśalya refers to using skillful means to teach each person according to their capability to understand. What might be appropriate for some people at a certain time might not be appropriate for others at different times. In other words, tailoring the message so that it resonates with the audience. Although the means of guiding sentient beings are only partial aspects of the ultimate truth, using language and teaching methods that inspire others to begin on the path toward enlightenment. Skillful means is one of the perfections (paramitā) of Mahāyāna Buddhism. Just like a bodhisattva motivated by wisdom and compassion, Venerable Master Hsing Yun made a great vow to help bring out the spiritual potential of sentient beings. He crafted a version of Humanistic Buddhism that integrated Buddhist doctrine with the daily life of people of current times and cultures. He not only adapted his teaching to effectively transmit the Dharma, he also used skillful means to propagate the Dharma. The articles in this volume discuss some of the various ways he grew the Fo Guang Shan into a worldwide Buddhist organization through building temples throughout the world, founding the Buddha’s Light International Association (BLIA) for lay practitioners, globalizing and localizing, education, natural aesthetics, and through developing the concepts of collective effort and leadership by system.
試論東方美學的特色
