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臺大佛學研究 THCI

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篇名 山嶽與修行:弘法大師山居詩研究
卷期 25
並列篇名 A Study of Kobo-Daishi’s Mountain Living Poetry
作者 蕭麗華
頁次 67-98
關鍵字 空海和尚弘法大師山居詩山嶽修行雜密KukaiKobo-Daishimountain living poetrypracticing Buddhism in mountainsThe Mixed Esoteric BuddhismTHCI
出刊日期 201306

中文摘要

山林作為隱逸空間,在文學中從《楚辭.招隱士》、《莊子.刻意第十五》和《莊子.天道第十三》就已經開始,但是,自從謝靈運完成〈山居賦〉之後,東漢以來由僧俗所開創的儒、道、釋三種「山居」傳統,才得到三教合會式的呈現。入唐以後,「山居詩」成為詩中一大類型,以「山中」、「山居」、「入山」為題者,在《全唐詩》中就有150 筆以上。本文綜合採集空海和尚詩歌作品共四十八首,其中以「山居」為主調者,如〈遊山慕仙詩〉、〈入山興〉、〈山中有何樂〉、〈徒懷玉〉等共九首,占其詩歌總數近五分之一,明顯可與六朝以來及初盛唐的「山居詩」相比照。本文的考察發現,空海的山居詩在思想內涵上雖觸及三教合會,但實際上以大日如來法身佛的法門一門深入,表現出以「山」為淨土,遠離俗世穢土的修行方式。入山即入佛法身,這種密教的聖山觀念,與中國六朝到唐的僧俗的山居詩迥異。在詩歌意象上,空海山居詩呈現出以「雲」與「屋」的意象為象徵,這和中國僧人山居詩的表現相同,但意象指涉的內涵則各有差異;在詩歌表現功能上,空海和中國的山居詩同樣都有「自我抒情」與「問答應酬」兩種傾向,但中國的山居詩人,酬答含蓄,言而不言,空海則大談佛理,法音宣流。

英文摘要

The tradition of regarding the mountain forest as a reclusespace can be traced back to “Summoning Recluse” in the Chu Ci and“Ingrained Opinions”, “The Way of Heaven” in the Zhuang zi, whilethe “mountain living poetry” is a specifi c kind of poetry developed bythe Taoist priests and Buddhist monks who were seeking the Tao inreclusive lives. Most of the mountain living poems written by monkpoetsand poets of the secular world during the Six Dynasties wereaimed at searching for Buddhist or Taoist Tao. After Xie Lingyuncompleted his “Mountain Living Rhapsody”, the “mountain livingtradition” of Confucianism, Taoism, and Buddhism established bymonks and people of the secular world since the Late Han has fi nallyfound its expression in the synthesis of the Three Teachings.After the Tang dynasty was founded, the mountain living poetrybecame an important poetic genre. There are more than 150 poemswith a title of “in the mountain”, “mountain living”, or “entering themountain” in the Quantangshi. In this article, generally collected 48 ofKukai’s poetry works, 9 among these poems, which are one fi fth of all,are written in the main tone of mountain living. They are apparently comparable with the mountain living poetry from the Six Dynasties toEarly Tang and High Tang.This article has observed that although Kukai’s mountain livingpoems have contacted the synthesis of the Three Teachings in theirthought contents, they are mainly going into the dharma gatewayof Mahavairocana. These poems represent a practicing methodwhich regards mountain as the “pure land” and keeps staying awayfrom the filthy mundaneness. The sanctified mountain concept ofEsoteric Buddhism, which is greatly different from Chinese mountainliving poems from the Six Dynasties to Tang, states that to enter themountain is to enter the dharmakaya of Buddha. Kukai’s mountainliving poems display the using of “cloud” and “house” as imageries,which is similar to the ones written by Chinese monks. However, theyare different in the contents that are denoted by imageries. From theaspect of the representational function of poetry, both Kukai’s andChinese mountain living poems has the tendencies of “ego lyricizing”and “intercourse dialogue”, but Chinese living mountain poets arequiet reserved while Kukai’s works are vociferously discussing theBuddhist teaching.

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