论文部分内容阅读
佛教一直是東亞文化交流最重要的媒介之一。中國與日本禪林的往來互動,更是漪矣盛哉。明清鼎革之後,以隱元隆琦(1592—1673)爲首的黃檗宗僧團以及曹洞宗東皋心越(1639—1695)等人積極傳佈中華文化。在傳統的詩文、書畫、典籍之外,音樂、建築、醫學、武術莫不有高明建樹,日本江户時代,“黃檗樣式”一語代表了當時文學藝術各色作品的中華情調,其影響之大不言可喻。黃檗宗開祖隱元隆琦歷來吸引學者的關注,相關研究薄有積累,然而黃檗宗僧團濟濟多士,即非如一(1616—1671)便是隱元弟子當中,不容輕易看過的法門龍象。即非如一爲隱元隆琦門下白眉,本文以即非如一在日本長崎與京都(包括奈良)所製詩文爲主,就其眼中所見之日本佛教特質與生活樣態加以檢視,並就其身處明清易代之際特殊的時節因緣之下的政治認同與思想境界加以探析,冀能對認識即非如一有所裨益,並以此作爲深入探究黃檗宗、明清佛教以及當時東亞文化交流的基礎。
Buddhism has always been one of the most important media for East Asian cultural exchanges. The interaction between China and Japan’s Zen Buddhism is even more flourishing. After the Ming and Qing dynasties, the Huangbong Zongshan group led by Hidden Yuan Long Qi (1592-1673) and Cao Dongzong Donggao Xinyue (1639-1695) actively disseminated Chinese culture. In addition to traditional poetry, calligraphy and painting, and classics, music, architecture, medicine, and martial arts have a lot to be accomplished. In the Japanese era of Edo, the term “yellow berry style” represented the Chinese flavor of the colored works of literature and art at that time. It can not be overemphasized. Huang Zhong Zong Kai Yuan Long Qi has always attracted the attention of scholars, research related to thin accumulation, but the yellow bermudagrass Ji Ji toast, that is not as a (1616-1671) is a hidden element of disciples, can not be easily seen Famengxiang . In other words, it is not the same as the metaphysical under the gate of Long Qi. This paper mainly focuses on the Japanese Buddhist traits and life patterns seen in the eyes of both the Nagasaki and Kyoto (including Nara) in Japan. At the time of the Ming and Qing Dynasties, the political identity and ideological realm under the special circumstances of the time of the Qing Dynasty were analyzed to hopefully to realize that the Huangbuzong Buddhism and the then East Asian cultural exchanges at that time Foundation.