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中唐之际,诗境说蔚为一时风尚。除署名王昌龄之《诗格》、皎然之《诗式》外,其余如权德舆、刘禹锡、吕温等人,皆有论述境与诗歌创作关系之文字。中唐诗论中“境”的观念,实与佛教有着极为密切的关系。对于这一诗论的源出,以往学者多从佛教唯识宗或禅宗思想来加以说明。然而倘若细加分析,便可知这种论诗主张与唯识宗、禅宗思想实有不小差距,却与天台宗思想较为接近。本文即尝试以天台宗思想,解释中唐诗境说的种种特点。从天台宗的止观学说,及其中定慧双照、三谛圆融,以至无情有性等思想,说明中唐此一诗论与佛教思想的密切关系。
In the middle of the Tang Dynasty, the poetic environment said that it was a temporary fashion. Apart from Wang Changling’s “Poetry Style” and Jiao Ran’s “Poetry Style”, the rest, such as Quan Te Yu, Liu Woo Sik, and Lv Wen, all have writings on the relationship between the environment and poetry writing. The conception of “environment ” in the poetics of the Mid - Tang Dynasty has a very close relationship with Buddhism. For the origin of this poetic theory, in the past, scholars mostly explained it from the Buddhist consciousness or Zen Buddhism. However, if careful analysis is made, we can see that this poem maintains that there is not a small gap between the thought of Zen Buddhism and the consciousness of Zen Buddhism, but that it is quite close to that of Tiantaizong. This thesis tries to explain the characteristics of the poetic landscape in the Middle Tang Dynasty with the thoughts of Tiantaizong. This paper illustrates the close relationship between this theory of poetry and Buddhism in the Middle Tang Dynasty from the viewpoints of the Tantaizong’s celestial conception and the two thoughts of Dinghui, the harmony of the three meanings, and the merciless nature.