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黃敬家 (著)=Huang, Jing-jia (au.)
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| Source |
法鼓佛學學報=Dharma Drum Journal of Buddhist Studies
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| Volume | n.7 |
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| Date | 2010.12.01 |
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| Pages | 107 - 147 |
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| Publisher | 法鼓文理學院 |
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| Publisher Url |
https://www.dila.edu.tw/
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| Location | 新北市, 臺灣 [New Taipei City, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為臺東大學華語文學系助理教授。本文為國科會專題研究計畫NSC 98-2410-H-143-012-之部分成果。 |
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| Keyword | 八指頭陀=Bazhitoutuo; 寄禪=JiChan; 敬安=JingAn; 詠梅詩=plum poems; 禪境=Zen image; 晚清詩僧=poetic monk in the late Ching Dynasty |
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| Abstract | 八指頭陀（1851-1912）法名敬安，字寄禪，曾發心燃二指供佛，而自號八指頭陀。其生命歷程曲折，性格孤介刻苦，既是晚清佛教界的領袖人物，也是一位卓爾不群的詩僧。他經常運用自然景象表現當下心境，尤其獨鍾於梅花高枝超俗的瘦影。他的第一本詩集名《嚼梅吟》，最後一本詩集名《白梅詩》，其瘞骨處題名「冷香塔」，可說將其性靈與梅之神韻焚化為一。其藉詩詠梅所展現的禪境，足成近代文學史的一株奇葩。胡飛鵬曾在〈題頭陀嚼梅吟稿跋〉中，贊其詩「如滿山梅雪間，清磬一聲，迥絕凡響。」本文結合八指頭陀生命歷程與其詠梅詩作，從歷代詠梅詩的意義承遞，以及梅花意象與禪宗歷史的關連，探究其詠梅詩所體現的禪境和所開發的意涵層次，挖掘其詠梅詩所開展的不同於前人的禪境特質和心靈境界。以見其透過獨特的禪定修持和美感覺照，深化主體悟境，擴大梅與主體心性的連類層次，開拓前人所未見的詠梅意境，從而使梅花意象在霜雪傲骨中，更添空靈妙境，並賦予其盎然禪機和有情生意，豐富詠梅文學的發展意蘊，在詠梅詩史上應給予適當的定位。
Bazhitoutuo (1851-1912), Buddhist name Jing-An, courtesy name Ji-Chan, once
burnt two of his fingers as a form of Buddhist offering and entitled himself as the “eight-fingered monk” (Bazhitoutuo). Because his life was full of tortuous struggles, he became hard-working and isolated himself from others. During the later period of Ching Dynasty, Bazhitoutuo was not only a leader in the field of Buddhism, he was also known for his outstanding poetry as a monk. In his poetry, he often used natural phenomenon to express his emotions, he especially liked to portray the peculiarity of the plum blossoms, with their tall branches casting a fine shadow. His first book of poetry was Jiao Mei Yin (Plum Rumination) and his last one was Bai Mei Shi (White Plum Poem). After his death, his ashes was placed in “Cold Blossom Pagoda,” this symbolizes the fact that his spirit and the spirit of the plums are like one. The way Bazhitoutuo used his poetry to admire plums illustrates the Zen realm. His style created a wonderful work in the modern history of literature. In Fai-Peng Hu’s appendix on “Jiao Mei Yin,” he compliments Bazhitoutuo’s poetry. He states that his poetry is “like the mountains are full of plum blossoms, where bells clearly ring an exceptional sound that is like no other.” This article combines the life course of Bazhitoutuo with his works of poetry on plum blossoms. I used the poetry on plum blossoms which passed down from dynasties with the link between the image of the plum blossoms and the Zen history to investigate on how Bazhitoutuo used his poetry to reflect on the Zen
realm and the way the poetry exploits the different levels in the meaning. I also discovered how his poems are characterized from other poetry by features of the Zen realm and the way the poems depict the spiritual world in order to see how Bazhitoutuo deepens the enlightenment of his subject and expands the connection between plum blossoms and the mind of his subject through distinct Zen meditation practice and sensation of beauty. His poetry opened up an artistic conception of plum blossoms that had never been seen before. This created an image of the plum blossoms standing proud in frost and snow, adding to the wonder of their image. Also, the poetry gives the readers an abundant Zen opening and affectionate liveliness. It enriched the development of the plum blossoms admiration literature and gave the history of poetry it rightful place. |
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| Table of contents | 一、前言 109
二、八指頭陀與晚清時代變革 112
（一）八指頭陀生平 112
（二）晚清佛教及湖湘文風 114
三、八指頭陀的創作態度與苦吟精神 117
四、詠梅傳統與禪悟的關係 124
（一）詠梅傳統的發展脈絡 122
（二）梅花意象與禪悟的關係 127
五、八指頭陀詠梅詩的禪境特質 131
（一）捕捉現量即境之禪機 133
（二）渾化色空有無之一境 136
（三）蘊含有情天地之生意 138
六、結語 141
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| ISSN | 19968000 (P) |
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| Hits | 1489 |
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| Created date | 2011.04.24 |
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| Modified date | 2021.01.11 |
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