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木庵禪師詩歌中的日本圖像 : 以富士山與僧侶像贊為中心=The Image of Japan in Master Moan's Poetry: Focusing on Mt. Fuji and the Praise of Earlier Masters
Author 廖肇亨 (著)=Liao, Chao-heng (au.)
Source 中國文哲研究集刊=Bulletin of the Institute of Chinese Literature and Philosophy
Volumen.24
Date2004.03.01
Pages129 - 153
Publisher中央研究院中國文哲研究所
Publisher Url http://www.litphil.sinica.edu.tw/
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Language中文=Chinese
Note中央研究院中國文哲研究所助研究員
Keyword木庵性瑫=Muan Xingtao (Mokuan Shito); 隱元隆琦=Yinyuan Longqi (Ingen Ryuki); 黃檗宗=the Obaku School; 明代佛教=Ming Buddhism; 江戶幕府=Edo Bakufu
Abstract 江戶時代的日本宗教界,除了如火如荼的天主教鎮壓之外,最值得關注的事件莫過於黃檗宗的傳入。黃檗宗不僅帶來明末清初中國的禪宗思想,更重要的是:也同時帶入了當時的美術、工藝、出版文化等,形成一種特殊的文化風格,史稱「黃檗樣式」,黃檗宗的傳入可說是十七世紀中日文化交流的一件大事。黃檗宗的始祖為隱元隆琦(1592-1673),其與弟子木庵性瑫(1611-1684)、即非如一(1616-1671)合稱「隱、木、非」、號「黃檗三筆」,成為日本江戶文化史上一個顯著的特徵,說明黃檗宗在日本文化中遠不止一個禪宗的新派別而已,更具有豐富的文化意涵。黃檗宗與江戶時代的日本文化的相互調解與融合的過程,係研究中日文化交流一個不容忽視的重要層面。
富士山時常出現於木庵禪師之詩作當中,然而木庵禪師初抵日本之際,只能憑藉傳聞,想像富士山之形象。隨著木庵融入日本社會情境愈深,其筆下之富士山形象亦愈見親切而且意涵亦愈見豐富,此等作品暗示了木庵融合日本的風土之中。而其對中國與日本祖師的頌贊也說明了其建構中國與日本禪學傳統的用心。
本文以黃檗宗第二代住持木庵禪師詩作中的富士山與日本佛教像贊為討論中心,嘗試探究其東渡日本面對異鄉景物心境的變化。同時也檢視黃檗宗的文學思想,追索,並且嘗試探析詩歌與禪學之間互動關係的模式。另一方面,黃檗宗除了中國的源頭之外,如何看待日本佛教的傳統,進而吸收消化,從而創造出一個姿態有別的宗教與文化系統,也是本文思考的重心。

The emergence and development of the Obaku school of Chan (Zen) Buddhism is a momentous event in religious history, as important as the Bakufu's persecution of Christians, of the Tokugawa period. The Obaku's influence on Japanese culture goes beyond religion. The Obaku masters brought not only the late Ming and early Qing Buddhist teachings but also new art, crafts, lithography, and culture. The Obaku style became a distinctive one in Japanese art history. Its acculturation and assimilation in Japanese culture is also one of the important issues in the cultural exchange between China and Japan in the 17th century.
This paper focuses on the images of Mt. Fuji and Buddhist masters in the poetry of the second Obaku patriarch, Muan. It probes the changes in Muan's mentality after he arrived in Japan. Mt. Fuji is a recurrent image in Muan's poems. His depiction of it was based on hearsay and imagination at first. However, it became more nuanced after he traveled to Edo. Mt. Fuji became then a metaphor with rich meaning, communicating the process of Muan's assimilation into Japanese society. As for the hymns to the Japanese Buddhist masters, those works showed that Muan placed himself among them, constructing therein a shared tradition of Zen Buddhism between China and Japan. This paper also explores the literary element in the Obaku tradition, considering the interactions between poetry and Zen Buddhism. Finally, it examines how the Obaku sect faced, accepted, and assimilated the Japanese Buddhist tradition to create a new, distinctive religious and cultural system.
Table of contents一、前言 129
二、黃檗宗詩論探析 131
三、木庵禪師傳略及其論詩主張 135
四、木庵禪師詠富士山詩作義蘊試詮 137
五、木庵詩作中所見之日本佛教圖像 144
六、結語 150
ISSN10176462 (P)
Hits647
Created date2005.05.13
Modified date2019.08.06



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