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日本中世的著名随笔《徒然草》第41段中刻画了一名爬到树上看热闹的法师形象,而早于《徒然草》约一百年问世的人物画作品《明慧上人绳床树坐禅像》也把描画的视线对准了树上的法师。本文通过对文字文本之间、视觉文本之间以及文字文本与视觉文本之间的对比分析,重点考察了“树上法师”的人物形象与禅宗典籍《景德传灯录》〈鸟窠禅师传〉之间的继承关系,借以说明禅宗佛教在镰仓时期的广泛渗透以及对当时文艺作品的巨大影响。
The famous essay in Japanese Medieval “Tranquil Grass” Paragraph 41 depicts a vigorous climb to the tree to see the image of the Master, but earlier than the “driftwood” come out about 100 years of portraits “ ”Aim at the drawing of the tree at the Master. By comparing and contrasting texts, visual texts and texts with visual texts, this essay mainly focuses on the study of the character images of “Master Mashi” and the Zen classics of “Jingde Chuan Deng Lu” Biography> in order to explain the extensive infiltration of Zen Buddhism during the Kamakura period and the great influence on literary and artistic works at that time.