尽管佛学起源于两千多年前,与西方兴起的后现代主义二者在时间空间上相差甚远,其表达形式和术语都有所不同,但从某种程度上说,二者在本体、语言、思维,观念等方面有诸多不谋而合之处。后现代主义思潮所到之处,西方传统的哲学观、价值观、宗教观的坚实根基慢慢被动摇了,文本成了如同可以灵活解释的对象,就如同禅宗的参话头一般见仁见智,而主体观逐渐沦为碎片就如同佛学里的无我观。同时,真理本身仿佛也只被视作一种模糊的话语效果或一种不太确定的理论范式,而原本的规范性观念比如西方传统对宗教、社会的认知则逐渐成了调侃的绝佳对象。正是在这种语境下,后现代艺术也呈现出别有滋味的佛学趣味儿来。由此,本文将从上帝死了、万物皆空、空的诗意、艺术死了的角度来探讨佛学思想对后现代艺术的奇妙影响。 Although Buddhism originated more than two thousand years ago, and its rise and fall in post-modernism in the West were far apart in terms of space and time, their forms of expression and terminology were different. To a certain extent, however, Language, thinking, ideas, etc. There are many coincide. Where postmodernism goes, the solid foundations of Western traditional philosophical, values, and religious beliefs are slowly shaken, and texts are treated as objects that can be flexibly interpreted, just as Zen’s rhetoric generally differs, while the concept of subject Gradually reduced to debris like Buddhism without my point of view. At the same time, the truth itself seems to be treated only as a vague discourse effect or a less certain theoretical paradigm, while the original normative concepts such as the Western tradition of religion and society are increasingly becoming ridicule Object It is in this context that postmodern art also exhibits a taste of Buddhism. Therefore, this article will explore the marvelous influence of Buddhism on postmodern art from the perspective of God’s death, all things are empty, empty poetic, art dead.