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題名 | 如來清淨禪與王維晚期山水小品=Tathagata Chan and Wang Wei's Late Landscape Poetry |
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作者 | 蕭馳; Xiao, Chi; |
期刊 | 漢學研究 |
出版日期 | 20031200 |
卷期 | 21:2=43 2003.12[民92.12] |
頁次 | 頁139-171 |
分類號 | 851.441 |
語文 | chi |
關鍵詞 | 王維; 如來清靜禪; 五絕山水小品; 唐詩; 現量; Wang Wei; Tathagata Chan; Landscape verses in pentasyllabic quatrains; Tang poetry; Pratyrsa; |
中文摘要 | 本文打破以南、北宗分限討論王維詩歌宗教背景的傳統思路,而將如來清靜禪作為研究這位盛唐詩人的框架。作者辨明:王維在禪的學理上受到北宗即東山法門更多的影響。以此為基礎,文章論證了王維五絕山水小品的文類特質乃由詩人在輞川宴坐和經行的體驗所生發。即由禪家「但心所緣,皆須一一隨逐」,對生命每一剎那的關注警覺以及「無念」、「無住」,生發出詩中取乎眼前、當下的現量境;由禪家隻然絕待的無相主體,生發出詩中濾卻一己之喜怒悲歡、卻透見非常個人化的對現象的幽微體察;由「觀妄」、「覺自在」和即清淨之心的獨特直觀體驗,生發出詩意的「幽玄」。由此,禪學在王維已化為瑩徹玲瓏之詩境,化為與內容水乳交融的詩之形式。故而,王維晚期山水小品的意義,又遠遠超越其文類本身。由其開發的無相主體性,猶淵池息浪,心水既澄的純感性直觀,以及能所之辨泯沒的「自心現量」,誕生了中國古典詩學之詩境。古代詩學此一進境,宜與中國佛教思想的進境相關聯。佛和淨土在此皆成為內心的自證,成為剎那間目前便見的心境。這就是王維山水小品中透顯的即心求佛求淨土的如來清淨禪傳統。 |
英文摘要 | This essay breaks away from the traditional compartmentalization between the Northern and Southern schools in studies of early Chan Buddhism and re-contextualizes the high-Tang poet Wang Wei 王維 within the framework of Tathāgata Chan (如來禪rulai chan). The author shows that the Northern school, i.e., Dungshan famen 東山法門, had a more important influence on Wang’s religious and literary life. Based on this, the author argues that the new features of Wang’ s landscape poetry in pentasyllabic quatrains (五言絕句 wuyan jueju) resulted from insights gained while engaging in prati-samlayana (宴坐 yanzuo) and cañkramana (經行 jingxing) at Wangchuan 輞川. That is to say, inspired by the Chan doctrine of being alert to each and every moment (k□ana 剎那 chana) of one’s life and the ideals of “nothought” (asmrti 無念 wunien) and “nostay” (aniketa 無住 wuzhu), the verses show the poet’s pratyrsa (現量 xianliang) or here-and-now inscape (visaya, 意境 yijing), to use Hopkin’s terminology. Likewise, stemming from the Buddhist denial of any duality between the internal and the external, the verses are able to exhibit the poet’s very individual and delicate perception of natural phenomena without expressing his personal feelings. Finally, through his experience with the techniques of “observingi llusion” (觀妄 guan wang) ,vasitā (覺自在 jue zizai) and attaining the pure mind, his simple verses come to possess ineffable, mysterious meanings. 1n other words, in Wang’s poetry, Chan Buddhism found an aesthetic content and form suited to the expression of its ideals. The significance of this kind of landscape poetry is that it marks the birth of inscape in the Chinese lyric tradition. This literary progress was connected with religious developments in Chinese Buddhism, especially the redefinition of Buddha and the Pure Land as the visaya of pure mind. This is what the doctrines of Tathāgata Chan, which advocated attaining Buddha and the Pure Land through one’s own mind, brought about in Wang’s landscape poetry. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。