刘勰《文心雕龙》与古印度檀丁《诗镜》在写作年代上虽前后相距约两个世纪,但就文坛背景及理论宗旨而论,两者之间颇有相通处:其一,《文心雕龙》出现于“文学自觉”观念愈益明确之时代,《诗镜》则产生于古印度文学与宗教相分离、古典梵语文学鼎盛发展阶段,两者都具有总结既往文学创作经验及当代文坛演变趋势之作用;其二,《文心》与《诗镜》皆推崇藻饰之美,但又充分注意过度修饰之弊端,追求有“情味”之“修饰”;其三,两者皆能正视百家飚骇、议论腾跃、“人相掎摭”之文坛现状,洞悉诸家观点利弊,明确提出了审美理想境界。此外,虽然目前尚无直接史料说明《诗镜》在中国古代的汉文翻译及其对汉文典籍之影响,但《诗镜》在中国藏族地区的流播情况则信实有征,影响至为深远。即此而论,《文心》与《诗镜》之比较,亦有助于探讨汉、藏民族文学思想之异同。 Liu Xie “Wen Xin Diao Long” and the ancient Indian Tan Ding “Shi Jing” although in the writing years although about two centuries apart, but the literary arena background and theoretical purposes, the two quite similarities between the two: First, “Wen Xin Diao Long” appeared in an increasingly clear era of “literary conscience” and “poetry mirror” originated from the separation of ancient Indian literature from religion and the flourishing development stage of classical Sanskrit literature. Both of them have the characteristics of summarizing past literature Creative experience and the trend of contemporary literary movement; Second, both “Wen Xin” and “Shi Jing” embrace the beauty of algae decoration, but pay full attention to the drawbacks of excessive decoration, the pursuit of “love” “ Thirdly, both of them can confront the literary status quo of hundreds of schools, pondering ponies, and discussing the pros and cons of various opinions and clearly put forward the aesthetic realm. In addition, although there is no direct historical data on the translation of the poem mirror in ancient Chinese and its impact on Chinese classics, the spread of poetic mirror in Chinese Tibetan areas is credible and far-reaching. In other words, the comparison between ”Wen Xin“ and ”Shi Jing" also helps to explore the similarities and differences between Han and Tibetan literary ideas.