Chinese Thought and Culture

fǎn 反 Reversal to the Opposite 相反或复归。“反”用以描述事物在属性或状态上的相反、对立。在此基础上，“反”也指称事物在相反关系中的变化趋向。在这一意义上，“反”包含两种不同的含义：其一，指事物的属性或状态总会在一定情况下向与自身相反的对立面转化。其二，指事物返回到其原初或根本的某种状态或属性。“反”的概念体现着古人对事物内在变化规则的深刻认识。 This term means a reversal to an original and opposite state. By extension, it also refers to the way changes occur in a relationship of opposites. In this sense, the term has two different meanings: one is that a thing’s attribute or state will under certain circumstances always […]

fǎshēn 法身 Dharmakāya / Body of Dharma 佛法的聚集。“身”义为聚合。佛教常从不同的方面理解觉悟者，而有“二身”“三身”乃至“十身”之说。比如，“色身”或“生身”指具体有形的存在，强调物质的方面；“法身”指无形的、智慧的聚合，强调觉者的本质。此外还有“应身”，特指为了能够教化众生，根据需要变化显现的形式。中国佛教各宗各派对法身的阐释各有千秋，但都重视法身的清净圆满、功用无穷。 Dharmakāya refers to the corpus of the Buddha’s teachings. The word shen (身body) means collection in this context. The multifaceted nature of the Buddha inspires the idea of “two bodies,” “three bodies,” and even “ten bodies.” Among them, rūpakāya (the body of form or the begotten body) refers to the physical

èrdì 二谛 Satyadvaya / Two Truths 两个层面上的真实。“谛”即真实不虚的道理。“二谛”一般指真谛和俗谛，分别又称胜义谛和世俗谛，即在终极本质和世间现象两个层面上各成立一种真实。这一分疏真理的方法始于阿毗达摩类的经典：世俗层面指名言表象，而胜义层面指真实存在的诸法，对应于不同的认知境界。二谛的思想被大乘经典广泛运用，主要指：一切事物在本性的层面上是空，但表现为纷繁的现象（似乎是“有”）。又《中论》言“诸佛依二谛，为众生说法”，其中俗谛指任何名言表诠，包括佛陀的教诲，相应的胜义谛则指超言绝象的真实。基于上述说法，隋代时，释吉藏（549—623）综合各个层面的二谛，发展为“四重二谛”；释智（yǐ，538—597）则将空假胜俗二谛与中道相接，统合为“三谛”。 Satya means unfailing truth in Sanskrit. Satyadvaya refers to truth at two levels: paramārtha-satya (the ultimate truth), which is based on the absolute nature, and -satya (the conventional truth), based on worldly phenomena. This division of truth according to the level of cognition originates in the canonical Abhidharma works, where names, words, appearances, and

duì 兑 Dui (Marsh) “八卦”之一，画为“☱”。“兑”又为“六十四卦”之一，由两个三画的“兑”卦组成，画为“䷹”。在“八卦”系统中，“兑”卦的基本象征意义是水泽。水泽滋养万物，故有悦乐万物之义。“兑”卦由一个阴爻和两个阳爻组成，属于阴卦，在人伦领域象征女性。“兑”卦中的阴爻居于上位，象征家中最小的女儿。 Dui (marsh) is one of the eight trigrams, bundled together in the shape of ☱. It is also one of the 64 hexagrams, composed of two trigrams like this ䷹. In the eight-trigram system, it symbolizes the marsh or lake. The marsh fosters all forms of life, therefore making everything pleasant. The

dú shū xìnglíng, bù jū gétào 独抒性灵，不拘格套 Bold Expression of One’s True Self 文学创作抒发自己真实独特的性情，不拘泥于任何格式套路。原为明代文学家袁宏道（1568—1610）对其弟弟袁中道（1570—1626）文学创作的评语，后来成为公安派的核心理论主张，与当时前、后七子“文必秦汉，诗必盛唐”的复古主义观点形成了鲜明的对抗。公安派强调文艺源于个人性情，讲求独创性，重自由，反拘束，要求诗人不为成法所限。在当时尊古、模拟盛行的风气下，这一命题有个性解放和反传统的意义，对于当时及后代的文艺创作产生了积极影响。 This term indicates that a writer should give expression to his true feelings in literary creation and not be constrained by particular regulations or formulas. It was first used by the Ming Dynasty writer Yuan Hongdao (1568-1610) as he commented on

déxìng 德性 Virtuous Nature / Morals as Human Nature 人的道德本性。最早见于《礼记·中庸》。古人普遍承认，人天生所具的本性之中包含着人对于外物的感知与欲求。但是，对于人性之中是否包含道德性的因素，古人则持有不同的见解。大部分儒者认为，人性之中同时还包含着仁义礼智等道德的根基，也即是“德性”。“德性”需要经过一定的修养工夫，才能最终成就善行。 This refers to people’s innate moral nature. The term first appeared in The Book of Rites. Ancient Chinese people widely believed that inborn human nature had feelings and a craving for knowledge of the outside world. However, they had different views as to whether morals

dàoxīn 道心 Moral Mind / Moral Consciousness 符合道德原则的知觉意识。“道心”与“人心”对举，见于古文《尚书》、《荀子》等典籍。宋儒特别重视“道心”与“人心”的概念，对其含义进行了解释和发挥。宋儒认为，心的知觉活动包含两类内容：其一，依循于道德原则的知觉意识，即是“道心”。其二，由耳目等身体官能所生发的对外物的欲求，称为“人心”。“道心”源自天命所授的本性，合于天理，但往往隐微而不易显现。人应努力发挥“道心”的功用，以克服“人心”中过度的欲望。 The “moral mind” refers to people’s awareness of moral principles. It is set in contrast to the “human heart,” and appears in classics such as the “Old Text” version of The Book of History, and Xunzi. Confucian scholars in the Song Dynasty attached great importance to both

dào bù tóng, bù xiāng wéi móu 道不同，不相为谋 Part Ways and Part Company 走的路不同，不会在一起商量怎么走；人的主张、信念等不同，不会选择一道合作共事。“道”本指道路，这里泛指主张、信念、志趣、看法、行事原则等；“谋”本指谋划，引申指合作共事。对于合作共事而言，最重要的是彼此达成共同的目标原则，没有共同的目标原则，双方不可能顺利合作，但是也不能为了合作而放弃原则。坚持原则，不是拒绝合作，而是拒绝无原则的迁就。人与人共事，国与国合作，皆循此理。 Travelers heading down different paths do not plan together how to travel. Originally, the saying meant people with different views and beliefs do not seek to work together. Dao (道 way), which originally referred to “road,” is extended to include opinions, beliefs,

dàn jiàn xìngqíng, bù dǔ wénzì 但见性情，不睹文字 To Impress Readers with True Feelings Oblivious of Its Wording 文学作品完美呈现作者的本性真情，让读者全身心感受到性情的真与美，而感觉不到文字的存在。由唐代诗僧皎然（720—796？）提出。此语一是强调性情为本，文字只是工具；二是强调写作者与接受者都要得意忘言；三是突出文学艺术以心会心的特点，只有通过心灵对话才能激活言语之外的多重意蕴。它体现了中国古代文学重视意象、意境构造的特点。 This happens when a literary work reveals to its reader the truth and beauty of its author’s innermost feelings, to the point that the reader becomes oblivious to the wording. Such an idea was first raised by

cíhuà 词话 Criticism on Ci Poetry / Cihua (Story-telling with Song and Speech) 主要含义有二：其一，指评论词人、词作、词派，记述词的本事及相关考订的著作，是中国古代诗学文献的一个组成部分。词话借鉴诗话而来，滥觞于北宋，成熟于南宋。著名的词话著作有清代陈廷焯（1853—1892）的《白雨斋词话》、王国维（1877—1927）的《人间词话》等。《人间词话》是王国维在接受了西方美学理论之后，融汇中西美学思想，以崭新的眼光对中国词人与词作做出的评论。表面上看，《人间词话》沿袭了中国传统的诗话、词话一类作品的体例，实际上它已初具理论体系，是晚清以来最有影响的文艺批评著作之一。其二，指盛行于元、明两代的一种说唱艺术形式（其中的“词”主要指词曲），如《大唐秦王词话》，有说有唱，韵文、散文并用。由宋代说话伎艺发展而来，明代中叶以后，逐渐演变为弹词和鼓词两个系统，并且取代了“词话”名称。又，明后期及清前期“词话”还曾用来指称夹杂词曲的章回体通俗小说，如《金瓶梅词话》等。 This term has a two-fold meaning. First, it refers to any work that offers commentaries on ci poets, poems, schools of ci poetry, the gist of a ci poem and textual criticisms. This type of work is a constituent part of scholarly inquiry into classical Chinese