【摘要】 东汉时期佛教美学意蕴的初始酝酿,是通过印度佛学经典的初步译介而逐渐实现的。主要在禅定"守意"与般若"本无"说的译介传播中,"中国化"的"空"之"美"与"乐"这一新的审美剧变,得风气之先,创造为中华佛教艺术审美的新品类,开始了由传统的"乐"到"悲"以及"乐""悲"相系之审美理念的转递,拓展出关乎审美的新名词、新概念与新范畴。更多还原

【Abstract】 The initial gestation of Buddhist aesthetic connotation in the Eastern Han Dynasty was gradually realized through the preliminary translation and introduction of Indian Buddhist classics. In the course of the translation and dissemination of Zen’s doctrine of "keeping one’s mind" and Prajna’s doctrine of "originally nonexistent", the new aesthetic approach, characterized by "beauty of emptiness" and "happiness" of "sinicization", which was first created as a new category of aesthetic appreciation of Chinese Buddhist art, began its transfer of aesthetic ideas from traditional "happiness" to "sadness" and the interaction between "happiness" and "sadness", thus expanding new terms, concepts and categories related to aesthetic appreciation.更多还原