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惠洪詩禪的「春」意象--兼為「浪子和尚」辯誣=The Spring Image in the Zen's Poetry of Huihong: A Defense for His Libertinism
Author 吳靜宜 (撰)=Wu, Chin-yi (compose) ; 蕭麗華 (撰)=Hsiao, Li-hua (compose)
Source 佛學研究中心學報=Journal of the Center for Buddhist Studies
Volumen.9
Date2004.07
Pages155 - 176
Publisher國立臺灣大學佛學研究中心=The Center for Buddhist Studies, National Taiwan University
Publisher Url http://homepage.ntu.edu.tw/~ntucbs/
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Language中文=Chinese
Keyword惠洪; 文字禪; 春意象; 詩禪合一; 佛教文學=Literature
Abstract惠洪一生性格狂放不羈,詩風文士化,一生飽受牢獄之災,聲名遭受污辱,曾因〈上元宿百丈〉:「十分春瘦緣何事?一掬歸心未到家。」二句留下「浪子和尚」的千古汙名,然細觀此詩中「春瘦」二字,實與禪林文學用語有很大的關係。本文以惠洪詩禪中的「春」意象為範疇,經由禪宗典籍中「春」意象之象徵與唐宋禪林文學中「春」意象之演進,來探索惠洪詩歌中「春」意象的四種類型,從而發現惠洪以「春」象徵詩禪的詩學意義,並以之來突顯惠洪詩禪的創發,兼為惠洪辯誣。惠洪詩禪最大的貢獻在於「文字禪」的倡導,本文立足在廣義文字禪的基礎上,專從詩學角度,探索惠洪「文字禪」中「春」意象在詩歌上的表現,則可看到惠洪將「春」意象,應用在論畫、評人、論禪、評詩四個方向。本文在研究過程中還發現,惠洪對「春」意象的使用,促成詩話由唐入宋在對偶對與詩歌意境論上的開創,在對偶論上惠洪開創了「偷春格」,在意境論上展現了「詩禪合一」、「詩境如春」之說。由本文之論述也可以看見「春」意之活潑多元,在禪宗典籍或象道芽,或象法雷,或如禪者內在禪機,均為祖師說法示道時所不斷借用的譬喻。禪林文學中,「春」意象的運用,在唐代詩僧仍是少數,到北宋詩僧則蔚為風潮,惠洪承此風潮,轉為其「文字禪」之倡導,讓難以言說的詩禪藝術,在此藉「春」的象徵得到豐富的言詮,同時也為中國詩歌開創「對偶論」與「意境論」之新內涵,這在詩禪合一論的歷史上是相當精彩的一頁。

Table of contents一、前言 157
二、禪宗典籍中「春」意之象徵 159
三、唐宋禪林文學「春」意象的演進 162
四、惠洪詩禪中「春」意象的四種類型 165
五、惠洪以「春」象徵詩禪在詩學上的創發 173
六、結論 174
ISSN10271112 (P)
Hits2485
Created date2004.08.06
Modified date2017.07.03



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