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黃鶴仁 (著)=Huang, Ho-jen (au.)
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| Date | 2017 |
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| Pages | 345 |
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| Publisher | 東吳大學 |
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| Publisher Url |
https://www-ch.scu.edu.tw/october/
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | doctor |
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| Institution | 東吳大學 |
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| Department | 中國文學系 |
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| Advisor | 許清雲 |
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| Publication year | 105 |
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| Keyword | 詩僧=poet monks; 僧詩=Monk's poems; 綺語=rhetoric; 如來藏=Tathagatagarbha |
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| Abstract | 詩僧能文能詩，於佛教為詮釋及傳播義學之主要族群，面對時代演變，有其因應之道，是以本文針對「近代詩僧」探討，以提出個人觀點。
僧詩文獻搜輯不易，本文以光緒二十四年（1898）維新運動起，至兩岸分治（1950）止，此中五十三年為近代。先就已知詩僧之詩文集有唱和、序跋，或《年譜》曾述及能詩者，清查此期間出家且有詩集之詩僧。次就詩僧考其所處之時代背景與個人生平，由共同環境與個別遭遇，以掌握探討對象。三就詩僧之義學，清查著作文獻，並由《楞嚴經》與《起信論》探討其義學及辨偽立場。四就詩集檢視詩之文獻問題，並由「僧」之本位，與「詩」之本色，雙向考論文藝特色。五就佛教題材，由傳播信仰與頌贊二類，考論僧詩之文藝形態。
經探討發現，於本文「近代」定義內，詩集見存者有十七人，詩集未見者，亦有十三人。其所處維新運動之後，全國彌漫提寺產充辦新學堂之思維，引發僧人保護寺產及辦僧學運動。民國以後，更加強辦僧學，甚至組織人民團體，向政府表達寺廟管理之意見。
義學方面，對《楞嚴經》及《起信論》之偽經說，普遍存在反駁之論，惟月溪嘗疑《起信論》。著述方面，重點在如來藏之詮釋，以圓瑛之《楞嚴經講義》成就最高，太虛於《楞嚴經》及《起信論》之註疏，於駁偽立場，尤具時代意義。慈航《大乘起信論講話》以白話文行之，亦是時代特色。
詩作方面，虛雲、弘一、曼殊、海燈等詩集，皆錄有未出家前之詩。創作則因僧人身分，普遍受佛教戒律之影響，致使「僧」身分與「詩」文藝之間，存在一定之衝突，協調此衝突以從事創作，則有不同表現。至於僧詩之評論，多由文士角度評僧詩，忽略僧詩應有之本色，變成儒詩之閏位。
僧詩之佛教題材，具有傳播信仰作用，其頌贊對經典所載及古德，更有凝聚信仰之力，對今人亦有發揚幽德，引起關注。惟自題小照係贈信徒而作，普遍含有說法之意。
Poet monks being able to write articles and poetry are the main groups to interpret and disseminate scriptures in Buddhism; in the face of the evolution of the times, there were their response. In this thesis, "modern poet monks" are explored and the personal point of view is raised.
The search of monk poems is not easy. This thesis takes 53 years from the Reform Movement in the 24th year of Emperor Guangxu (1898) to the cross-trait division (1950) as the modern. First, the author checked out the poet monks who became a monk and had poetry collections during this period, on the known poetry collections of poet monks with reply in the same rhythm, preface and postscript, or Chronicle has described monksbeing able to write poems.Second, researched the background and personal life of poet monks and by the commonenvironment and individual experience grasped the objects to be discussed. Third, checked the writing literatures, and explored the scriptures of Surangama Sutraand The Awakening of Faith, as well as identified their position.Fourth, reviewed the literatures of monk’s poemson poetry collections, and studied the literary and artistic characteristics by two-way of the standard of “monk” and the character of “poem”. Fifth, on the subject of Buddhism, the author studied the literary and artistic form of monk poetry by two categories as the dissemination of faith and praise.
It is found that, in the definition of "modern", there are seventeen people having poetry collection, and thirteen peoplehaving not. They were in the time after the reform movement when the whole country was full of the thinking to provide the temple property for setting up a new school, triggering monks to protect the temple property and operate the monk school movement. After the Republic of China was established, they strengthened to operate the monk school, even organized people’s groups to express the views of the temple management to the government.
In scriptures, therewas the prevalence of refutation for pseudoSurangama Sutraand The Awakening of Faith; however, Yueh Xi had doubt about The Awakening of Faith. In writings, they focused on the interpretation of Tathāgatagarbha, and Yuan Ying's Surangama Sutra lectureshowed the highest achievement. Tai Xu’s explanatory noteson Surangama Sutra&the Awakening of Faithrefuted the pseudo saying, especiallyshowingthe significance of the times. Ci Hang’s Speaking of the Awakening of Faithwas written with vernacular Chinese also being a kind of characteristics of times.
In poetry, there are the poems taken down in the poetry collections of Xu Yun, Hong Yi, Man Shu,and Hai Deng before they become monk.Their creation was generally affected by the influence of Buddhist precepts due to the identity of monk, so that there was a certain conflict between the identity of “monk” and the literature and art of “poetry”; there were different performances in coordination of this conflict to engage in creation. As for the comments on monk poems, more from the viewpoints of literatiignored the character should have in monk poem, into unorthodoxLiterati poems.
The Buddhist themes of monk poems with the role communicating belief, and |
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| Table of contents | 目錄
第一章 緒論 01
第一節 研究之動機與目的 02
第二節 研究所遇之困難 02
第三節 論題「近代」與「詩僧」意義之界定 04
一、「近代」之界定 05
二、「詩僧」之界定 08
三、僧格不符「近代」定義之詩僧 10
第四節 近代詩僧之有詩集者 13
一、詩集見存者 13
二、詩集未見者 14
第五節 近代詩僧之無詩集者 22
一、虛雲相關之詩僧 22
二、寄禪相關之詩僧 25
三、圓瑛相關之詩僧 32
四、太虛相關之詩僧 50
五、持松相關之詩僧 55
六、慈航相關之詩僧 56
七、海燈相關之詩僧 56
八、竺摩相關之詩僧 57
九、定持相關之詩僧 58
第二章 近代詩僧之時代背景與生平 59
第一節 詩僧之時代背景 59
一、清末僧教育之發展 59
二、民初之佛教團體及僧教育 64
（一）全國性佛教團體之創立與寺廟管理法規 65
（二）僧人辦僧教育 70
第二節 詩僧之生平 79
一、禪僧：虛雲、海燈、純果 81
二、禪僧：寄禪、圓瑛、太虛、慈航 84
三、禪僧：月溪、定持 90
四、天台僧：諦閑、斌宗 92
五、律僧：弘一 96
六、密教僧：持松、大愚 98
七、藝僧：曼殊、竺摩 99
第三章 近代詩僧之義學 103
第一節 詩僧之義學著作 106
一、大陸詩僧之義學著作 109
（一）虛雲之《虛雲和尚年譜》與《虛雲和尚法彙》109
（二）諦閑之《諦閑大師遺集》115
（三）圓瑛之《圓瑛法彙》與《楞嚴經講義》118
（四）弘一之《弘一大師全集》122
（五）太虛之《太虛大師全書》124
（六）持松之《持松大師全集》126
二、臺灣詩僧之義學著作 126
（一）慈航之《慈航法師全集》126
（二）斌宗之《斌宗法師遺集》129
三、香港詩僧月溪之義學著作 130
第二節 詩僧於疑古風潮中，對《楞嚴經》《起信論》之詮釋 132
一、對《楞嚴經》之詮釋 135
（一）虛雲以《楞嚴經》為戒行、參禪之根據 137
（二）諦閑對《楞嚴經》之詮釋 141
（三）圓瑛對《楞嚴經》之詮釋與運用 143
（四）太虛對《楞嚴經》之詮釋 149
（五）慈航對《楞嚴經》之詮釋 153
（六）斌宗對《楞嚴經》之詮釋 156
二、對《大乘起信論》之詮釋 158
（一）圓瑛《大乘起信論講義》之觀點 163
（二）太虛對《大乘起信論》之觀點 168
（三）慈航《大乘起信論講話》之觀點 173
（四）月溪反對《大乘起信論》174
第四章 詩僧之詩集與詩藝 181
第一節 詩僧之詩集 181
一、詩集有未具僧格之詩者：虛雲、弘一、曼殊、海燈 182
二、詩集編纂稍複雜者：寄禪、太虛、斌宗 189
三、詩集文獻問題較少者：諦閑、圓瑛、月溪、大愚、持松、慈航、純果、定持、念西、竺摩 198
第二節 由「僧」與「詩」雙重角度，論僧詩之特色 203
一、由僧之本位以言詩，論綺語戒對僧詩之影響 204
（一）詩戒綺語之詩僧：虛雲、弘一、持松、海燈、純果 210
（二）以詩弘法之詩僧：諦閑、圓瑛、慈航 220
二、由詩之本色以言詩，論文藝性在僧詩之發揮 225
（一）寄禪《八指頭陀詩集》之清麗，為僧詩集大成 226
（二）太虛《潮音草舍詩存》之豪宕 232
（三）斌宗《雲水詩草》之矜練 237
（四）月溪《月溪法師詩詞法書集》詩清空，詞超曠 239
（五）曼殊詩善用香草美人為比興 241
（六）竺摩《篆香室詩集》尚意 242
（七）定持《行腳吟》俊拔 244
第五章 近代詩僧之佛教題材 247
第一節 傳播佛教信仰之題材 247
一、大愚《解脫歌》以禪悟為題材 247
二、弘一之〈題《護生畫集》〉以戒殺為題材 249
三、純果《彌陀詩吟百首》以念佛往生為題材 252
四、念西《佛教聲律啟蒙》以佛教常識為題材 254
第二節 佛教頌贊題材 255
一、對經典所載佛、菩薩之頌贊 256
（一）佛像頌贊 256
（二）菩薩像頌贊 261
二、對佛教人物之頌贊 271
（一）虛雲對佛教人物之像贊 271
（二）寄禪對佛教人物之像贊 276
（三）圓瑛對佛教人物之像贊 278
（四）月溪對佛教人物之像贊 285
（五）弘一對佛教人物之像贊 286
（六）太虛對佛教人物之像贊 289
（七）持松對佛教人物之像贊 292
第三節 自題小照題材 295
（一）虛雲自題小照 295
（二）寄禪自題小照 298
（三）諦閑自贊 300
（三）圓瑛自題小照 300
（四）月溪自題小照 301
（五）太虛自題小照 302
（六）持松自题小照 303
第六章 結論 305
徵引文獻 309
附錄：近代詩僧繫年 323
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| Hits | 410 |
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| Created date | 2022.06.24 |
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| Modified date | 2023.01.07 |
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