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基于19世纪末20世纪初艺术历史学家费诺洛萨和宾扬的著作,20世纪美国诗人庞德在创作生涯的初期便迷恋上了佛教中的观音。他在诗作中将观音形象与西方的圣母玛利亚形象合一,旨在融合西方与东方的宗教圣像,并尝试将孔子形象与她们并列。庞德并没有像其他学者那样将观音基督化,而是在诗作中突显了观音的宗教特征。这些宗教特征中最重要的元素是观音的净水瓶、莲花、杨柳枝和月亮,庞德在第二次世界大战后期撰写的《比萨诗章》中着力书写了这些象征元素,而他此前的创作手稿对这些元素的表现更为清晰。这些尚未全部出版的手稿塑造了观音的传统形象,展现了上天的慈悲为怀和自然的治愈能力,它既是多元文化的,又是真挚个人的。深入细察庞德的意大利文和英文手稿中的观音形象,《比萨诗章》中观音的意蕴便昭然若揭。
Based on the writings of the art historians Fernando and Binghamin in the late 19th and early 20th centuries, the 20th century American poet Pound was infatuated with Buddhism in the early days of his career. In the poem he combines the image of Guanyin with the image of the Virgin Mary in the West, aiming at merging the religious icons of the West and the East and trying to align Confucius with them. Instead of Christianizing Guanyin like other scholars, Pound epitomizes the religious features of Guanyin in his poems. The most important element of these religious features is the water purifier, the lotus, the willow branches and the moon in Guanyin. Ezra Pound wrote these symbolic elements in the Psalm Chapter written by the late World War II, and his previous creative manuscript The performance of these elements more clearly. These yet-to-be-published manuscripts shape the traditional image of Guanyin, revealing the heavenly compassion and natural healing power that is both multicultural and sincere. A closer look into Pound’s Italian and English manuscripts of the Guanyin image, “Pisa Poem” in the meaning of Guanyin will be clear.