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華枝春滿，天心月圓──弘一大師生平及其學行研究=Flowers Fully Blossom in the Spring, Bright Full Moon Shines in the Sky——Exploring the Life, Conduct, and Knowledge of Master Hong Yi |
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| 著者 |
楊玉雲 (著)=Yang, Yu-yun (au.)
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| 出版年月日 | 2021 |
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| ページ | 191 |
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| 出版者 | 逢甲大學 |
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| 出版サイト |
https://www.fcu.edu.tw/
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| 出版地 | 臺中市, 臺灣 [Taichung shih, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 中文=Chinese |
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| 学位 | 博士 |
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| 学校 | 逢甲大學 |
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| 学部・学科名 | 中國文學系 |
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| 指導教官 | 朱文光=Zhu, Wen-guang |
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| 卒業年 | 109 |
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| キーワード | 李叔同=Shu-tong Li; 弘一大師=Master Hong Yi; 民國佛教=Buddhism in the Republic of China; 律學=Vinaya Studies; 僧傳=Monastic Biography |
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| 抄録 | 本文旨在探究弘一大師（俗名李叔同；1880-1942）生平及其學行事蹟。
作為中國新文化運動的先驅者，李叔同認真獻身於全方位之藝術領域，後來走向宗教領域，捨棄親情、友情，棄絕紅塵，毅然遁入空門，找到究竟歸依處，成為一代高僧，精研佛學，以華嚴為境，四分律為行，導歸淨土為果，被譽為「重興南山律宗第十一代祖師」。
弘一大師由多才多藝的翩翩佳公子，繼而為留日學生，學成歸國後，又而為教師，再變而為居士，最後一變而為特立卓行的苦行僧，集藝術家、教育家、文化名家、高僧於一身，並認真貫徹每一種角色。弘一大師以儒僧身份，為中國佛教帶來新契機，盱衡同時代的各色人物，實在極為罕見。
本文首先論述李叔同的家世與時代背景，人格特質之養成、學思精進與擴展，描述上海經歷，環繞天涯五友，以及一九○五年東渡日本留學及一九一一年返國，一九一二年於上海城東女學、浙江第一師範學校執教之過程。繼而透過與夏丏尊、豐子愷、劉質平等人的師友關係，探究出家之遠因、近因。
弘一大師闡揚佛法，對律學有卓越之貢獻，「以儒治身，以釋治心」，為民國佛教開啟新頁。他從絢麗、精彩、豐富的經歷，回歸於平靜淡泊，彰顯了崇高的生命價值，可用「華枝春滿，天心月圓」來象徵皎潔無暇的心境。
回顧弘一大師絢麗、璀璨的一生與其當時所處的時代環境，本論文以傳記式觀點切入，探討弘一大師的家世背景，國學、藝術之深廣鑽研，身為人子攜眷奉母移居上海，母親病逝後，留學日本、學成回國執教之過程，及至棄絕紅塵，步入佛門，佛學造詣等，作一全面之觀照。
本論文之研究，期許以弘一大師豐富、精彩的一生、人格光輝及其藝術上之精研與持戒弘律之卓越成就，作一研究結果的總結，給予自己與他人有更多的省思與更深刻的人生啟發，提供生命成長的動力，賦予生命以更大的意義與價值。
This dissertation is an account of the legendary life and scholarships of Shu-tong Li (李叔同), Master Hong-Yi (弘一大師; 1880-1942), a scholarly generalist and genius recognized by academia in the history of modern Chinese culture in the early 20th century. As a pioneer of the New Culture Movement in China, he was the first to introduce Western oil paintings, pianos, and dramas into Chinese culture with an innovative spirit. Renowned for his calligraphy, poetry, music, wood engraving, and stage performance, he pioneered modern Chinese culture and art in many fields and was a model educator.
Li’s life began with secular life. From 1880 to 1918, he had been earnest and devoted himself to various artistic fields, during which was the period when his artistic and teaching career reached its peak. From 1918 to 1942, Li went from academic art and literature to religious practice, left all his family and friendships, renounced the secular world, and abandonedly entered the temple, equivalent to the Buddhist legend “holding the flower smiling,” finding his path to Buddhism. He became one of the four great monks in modern China, studying Buddhism, taking Flower Adornment as the mirror, practicing Four-part Vinaya, aiming to reach Pure Land, and advocating Buddhism. He was known as “the founder of the eleventh generation of rebuilding Nanshan Vinaya.”
Li changed from a talented and artistic young man to a student in Japan. Being a teacher after his return to China, then he became a Buddhist, eventually turning into an ascetic monk. He was an artist, educator, cultural celebrity, and eminent monk. In every role he played, he took an attitude of “taking everything seriously” and put it into practice.
This research discusses Li’s family background, the background of his time, the formation of his personality, the diligence and expansion of his learning and thinking, his experiences in Shanghai, the friendship with five sincere friends, his studying abroad in Japan in 1905 and his return to China in 1911. Through Li’s interactions with his colleague Mian-zun Xia, his friend Zi-kai Feng, and his student Zhi-ping Liu, this dissertation explores the direct and indirect reasons for becoming a monk.
Master Hong Yi had made outstanding contributions to Buddhist teachings and disciplines: “regulate the body with Confucianism and cultivate the mind with Buddhism,” opening a new page for Buddhism. Returned from the splendid, wonderful, and rich experiences to serenity, he manifested the noble values of life. It can be symbolized by “flowers fully blossom in spring; the bright full moon shines in the sky” to signify the state of his pure, flawless mind.
Looking back on the magnificent and brilliant life of Master Hong Yi and his time, this research takes a comprehensive biographical approach to explore: the background of Master Hong Yi’s family, his in-depth study of Chinese culture and art, the timelines of moving from Shanghai with his mother, his study in Japan, his return to China to teach, his renunciation of desire, his entry into Buddhism, and his Buddhism attainments, for a thorough elaboration.
This dissertation is intended to summarize the splendid and marvelou |
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| 目次 | 摘要 i
Abstract ii
目次 v
圖目錄 vii
第一章 緒論 1
第一節 研究背景 1
第二節 文獻探討 2
第三節 研究方法 13
第二章 家世背景與學思經歷 17
第一節 家世背景與學思養成 17
第二節 師承交友與學思精進 28
第三節 時代環境與學思擴展 33
第三章 上海經歷與天涯五友 39
第一節 滬上風華 39
第二節 天涯五友 42
第三節 悲歡歲月 45
第四章 東渡留學與歸國創作 55
第一節 東渡日本 55
第二節 專研美術 59
第三節 戲劇藝術 60
第四節 音樂創作 64
第五章 滬杭執教與得力門生 71
第一節 津滬執教 71
第二節 西湖煙波 80
第三節 不言之教 89
第四節 杭州好友與得力弟子 94
第五節 護生畫集 102
第六章 身心變化與出家因緣 107
第一節 皈依佛門 107
第二節 受具足戒出家 113
第三節 出世道風 115
第七章 弘揚佛法及律學貢獻 135
第一節 佛學思想 135
第二節 弘一大師與南山律 142
第三節 律學宗師 146
第四節 律學著作 151
第五節 提倡念佛法門 156
第八章 結論 161
參考文獻 171
附錄一：天津桐達李家五代世系略表 177
附錄二：弘一大師簡譜 179
附錄三：弘一大師書法 「珍重」 191
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| ヒット数 | 309 |
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| 作成日 | 2022.06.06 |
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| 更新日期 | 2023.01.17 |
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