惠能頓教禪之創造觀—以壇經為研究核心
Abstract
目前學術研究的潮流、社會各界對於人才的能力需求、與國家教育的推動走向等，都聚焦在「創造力」之上。但這些創造力的概念與發展，大抵都偏向以西方心理學的理論來代表，所呈現的結果是龐雜多元但卻缺乏統整性，並且也缺少了本土化、東方社會文化的創造力特質之發掘與應用。筆者經過深細的省思後，列出目前創造力的十五個有待突破的問題，並歸納出創造力應朝著「本質性」、「跨領域性」、「實用性」、「超越性」等特質的研究，方能有效回應前述的十五個問題。
筆者在第一章對於本研究的進行，提出了四個不同的研究階段，以及各階段適合的不同研究方法，來達到各階段的研究目標。在研究的信實度方面，筆者亦提出多元檢核、「體用可逆反應」的原理，以檢核研究的成果，是否掌握到真正能發生作用的創造力核心本質；在第二章，筆者則從歷史事實的歸納中，發現「惠能頓教禪思想」是華人文化中，能歷千年流傳而不墜、能傳播至海內外、能跨越不同社會階層與區域文化、並展現其創造性成就與影響者；第三章則結合了紮根理論原理與哲學架構，建構出壇經文本中，頓教禪思想的本體論、認識論、方法論、印心論，以及社會哲學觀等完整的思想體系與系統概念圖，可作為西方創造力理論當中，局部性觀點的統合參考；第四章是筆者以跨學科領域的觀念角度（數學、大腦科學、管理學、物理學……等）出發，對於頓教禪的思想，作一新的多元詮釋，因而發現其具有「跨領域性」、「圓融性」的特質；另外則以成中英本體詮釋學的十大原則等概念，檢核其「本質性」的特質；最後，再以創造詮釋學的五種層次與演進的精神，檢核其是否具有「超越性」、「實用性」的特質，結果顯示頓教禪的思想，皆能符合這些詮釋方法的精神，同時兼具跨領域性、本質性、超越性、實用性等特質；第五章時，筆者則是深入探討頓教禪的創造力理論基礎與精神特質，並與西方創造力觀點作差異的比對，進而發現頓教禪特有的創造力觀點，對現代創造力教育、研究或學習上，有著全然不同的視野與啟發的作用，進而建構出新的創造力教育觀點。
本研究從古代的中華文化思想（惠能頓教禪法），與西方現代教育的創造力觀點，作一東西方創造力觀點的激盪與融合，並進而以禪學為體，西學為用，結合兩方所長，建構出有本質、有體系的新創造力教育學架構。未來希望能將此以理論架構，予以進行實踐、應用，經由實務上的應用、回饋，能對此一創造觀做出不斷修正，也希望能發展出教材、課程，對國內創造力的發展上，產生實質有效的助益。
“Creativity” is the focus of today’s academic research, talents wanted, and national education. However, the existing concepts and development of “creativity” are almost based on western psychology. The result is disorderly, and pluralistic without integration and the application of local and oriental culture. After minute reflection on the study of creativity, I listed 15 problems to address, and concluded that I should adopt “intrinsic”,” interdisciplinary”, “practical” and “transcendental” approaches. In Chapter 1, I divided this study into four stages with different methodology. In regard to credibility, I would use “pluralistic examination” and the theory of “reversible reaction between the essence and the function” to examine whether the result of the study grasps the core essence of the creativity which can really exert function. In Chapter 2, I concluded from the analysis of historical events that among the Chinese cultures, Hui-neng’s Spontaneous Enlightenment Ch’an is the one which could last more than one thousand years, spread to whole China and overseas, cross over different social strata and district culture, and manifest its creative achievement and influence. In Chapter 3, I used Grounded Theory and philosophical framework to construct the complete thought system and the systematic concept map of the Platform Sutra in terms of ontology, epistemology,methodology, enlightenment confirmation, and social philosophy. This integral approach can remedy the partial viewpoint in western theory of creativity. In Chapter 4, I made a new pluralistic interpretation on Hui-neng’s Spontaneous Enlightenment Ch’an by means of interdisciplinary approach such as mathematic, brain science, management, physics and so on, and found its characteristics of interdiscipline and integration. I also used the ten principles of Chung-ying Cheng’s ontological hermeneutics to examine its characteristic of “essence”. Finally, I used the five strata and the spirit of evolution of creative hermeneutics to examine whether the Spontaneous Enlightenment Ch’an has the characteristics of transcendence and pragmatism. The result shows that it matches the spirit of these hermeneutic approaches, and has the characteristics of inter-discipline, essence, transcendence, and pragmatism. In Chapter 5, I probed the theoretical foundation and spiritual characteristics of the creativity in the Spontaneous Enlightenment Ch’an, and compared it with the western viewpoint of creativity. I found that its unique viewpoints could enlighten the modern education, research and learning of creativity, and build a new educational viewpoint of creativity. This study made a comparison and integration of the oriental and western viewpoints on creativity, and built a new educational framework of creativity by using Ch’an thought as essence and western science as function. I hoped that this theoretical framework can be put into practice, and improved, thus developing teaching materials and curricula to really benefit the development of local creativity.
“Creativity” is the focus of today’s academic research, talents wanted, and national education. However, the existing concepts and development of “creativity” are almost based on western psychology. The result is disorderly, and pluralistic without integration and the application of local and oriental culture. After minute reflection on the study of creativity, I listed 15 problems to address, and concluded that I should adopt “intrinsic”,” interdisciplinary”, “practical” and “transcendental” approaches. In Chapter 1, I divided this study into four stages with different methodology. In regard to credibility, I would use “pluralistic examination” and the theory of “reversible reaction between the essence and the function” to examine whether the result of the study grasps the core essence of the creativity which can really exert function. In Chapter 2, I concluded from the analysis of historical events that among the Chinese cultures, Hui-neng’s Spontaneous Enlightenment Ch’an is the one which could last more than one thousand years, spread to whole China and overseas, cross over different social strata and district culture, and manifest its creative achievement and influence. In Chapter 3, I used Grounded Theory and philosophical framework to construct the complete thought system and the systematic concept map of the Platform Sutra in terms of ontology, epistemology,methodology, enlightenment confirmation, and social philosophy. This integral approach can remedy the partial viewpoint in western theory of creativity. In Chapter 4, I made a new pluralistic interpretation on Hui-neng’s Spontaneous Enlightenment Ch’an by means of interdisciplinary approach such as mathematic, brain science, management, physics and so on, and found its characteristics of interdiscipline and integration. I also used the ten principles of Chung-ying Cheng’s ontological hermeneutics to examine its characteristic of “essence”. Finally, I used the five strata and the spirit of evolution of creative hermeneutics to examine whether the Spontaneous Enlightenment Ch’an has the characteristics of transcendence and pragmatism. The result shows that it matches the spirit of these hermeneutic approaches, and has the characteristics of inter-discipline, essence, transcendence, and pragmatism. In Chapter 5, I probed the theoretical foundation and spiritual characteristics of the creativity in the Spontaneous Enlightenment Ch’an, and compared it with the western viewpoint of creativity. I found that its unique viewpoints could enlighten the modern education, research and learning of creativity, and build a new educational viewpoint of creativity. This study made a comparison and integration of the oriental and western viewpoints on creativity, and built a new educational framework of creativity by using Ch’an thought as essence and western science as function. I hoped that this theoretical framework can be put into practice, and improved, thus developing teaching materials and curricula to really benefit the development of local creativity.
Description
Keywords
惠能, 壇經, 禪, 頓悟, 創造力, Hui-neng, Platform Sutra, Ch'an, Spontaneous Enlightenment, Creativity