在晚明艺术史中,对禅宗思想最著名的运用莫过于身处“画禅室”的董其昌所推崇的“南北宗论”。而就在“南北宗论”盛行的时期,除了像董其昌这样的泰斗以外,还有一些一般文人,他们也在接受并运用着禅宗的思想。他们没有用禅宗来鉴赏趣味精微的文人山水画,而是在偏世俗的艺术领域,如戏曲与版画中尽情表达与创作。世居湖州的闵齐圾于崇祯十三年(1640)依据《西厢记》设计刊刻的《会真图》即是一例,~1其中的第二图(图1)采用了一种颇有趣味的图像方式来表现发生在佛门的西厢姻缘;而《会真图》所依附的《会真六幻》一书的序言则是他用神宗的语言对 In the art history of the late Ming dynasty, the most famous use of Zen Buddhism was the “Northern and Southern Sectarians ” advocated by Dong Qichang, who is in the “painting room.” In the period when the “Northern and Southern Sects” prevailed, in addition to such dignitaries as Dong Qichang, there were some ordinary literati who also accepted and used the thought of Zen. Instead of using Zen to appreciate the subtle landscapes of literati, they express themselves and express themselves in the fields of secular art, such as opera and printmaking. Living in Huzhou Min Qi in Chongzhen thirteen years (1640) According to “The Romance of the West,” the design of the “real map” is an example, ~ 1 of which the second map (Figure 1) uses a rather interesting The way of imagery shows the marriage of the West Mansions that takes place in the Buddhism. The preface to the book “Jiu Shi Liu Huan”, to which Gui Zhen Tu is attached, uses the language of Shenzong