白居易的詩歌與佛寺之關(guān)系研究
發(fā)布時(shí)間：2019-01-29 01:34
【摘要】：20世紀(jì)初至今的一百年多來,隨著中國古代文學(xué)研究的日益發(fā)展和唐代文學(xué)研究的日益成熟,學(xué)界對白居易的研究取得了豐碩的成果,主要集中在白居易作品的箋校與整理、白居易的家世和生平、白居易的思想傾向、政治態(tài)度及與佛道的關(guān)系、白居易的詩文理論與創(chuàng)作等方面。而對白居易與佛教的關(guān)系研究一向是學(xué)界討論較多的問題,自上世紀(jì)八十年代以來一直是白居易研究的熱點(diǎn)問題。佛寺作為佛教的物質(zhì)文化載體,在白居易與佛教有關(guān)的詩歌作品中占有很重要的地位。白居易的詩歌與佛寺的關(guān)系即是在對其詩歌作品進(jìn)行詳細(xì)梳理和分析的基礎(chǔ)上,對其詩歌與佛寺的關(guān)系進(jìn)行闡釋。論文主體分三部分:第一章,寫白居易棲身于寺時(shí)期與佛寺有關(guān)的詩歌創(chuàng)作,棲身于寺是白居易與佛寺關(guān)系的第一階段,從唐德宗貞元十六年(800)至元和九年(814)。這一時(shí)期,白居易只是把佛寺當(dāng)做游山玩水的景點(diǎn),而佛寺客觀上為詩人與友人提供了交游的場所,白居易因而創(chuàng)作出了一些佛寺寫景詩、交游詩等。這體現(xiàn)了佛寺對唐代詩人詩歌影響的共性,與其他文人的佛寺詩大致相同。這一時(shí)期體現(xiàn)棲身于寺關(guān)系的典型是仙游寺與《長恨歌》的創(chuàng)作。第二章,寫白居易棲心于寺時(shí)期與佛寺有關(guān)的詩歌創(chuàng)作,棲心于寺是白居易與佛寺關(guān)系的第二階段,從元和九年(814)到大和九年(835)。其中元和九年(814)白居易創(chuàng)作的《游悟真寺詩一百三十韻》標(biāo)志著他對佛寺由棲身轉(zhuǎn)變?yōu)闂�。元和十�?815)白居易被貶江州后,他開始與寺僧以佛寺為物質(zhì)依托而開始頻繁的交游,從而構(gòu)建了其極為龐雜的佛教信仰體系。這一時(shí)期的佛寺寫景詩、詠物詩、交游詩都帶有強(qiáng)烈的佛教色彩。這一時(shí)期白居易亦開始注重佛教實(shí)踐,以佛寺為中心開展了一系列知行合一、凡圣合一的實(shí)踐活動(dòng)。第三章,寫白居易與佛寺身心合一時(shí)期的詩歌創(chuàng)作,與佛寺身心合一是白居易與佛寺關(guān)系的第三階段,從大和九年(835)到會(huì)昌六年(846)。這一時(shí)期白居易對佛教的踐行愈發(fā)頻繁而深入,知行合一的具體表現(xiàn)是修行守戒、做功德、存放文集于佛寺;身心合一指白居易晚年流連香山寺,以“香山居士”自稱,徹底把自己與香山寺融合為一體,這鮮明地體現(xiàn)了他皈依佛教的個(gè)人選擇。白居易詩歌與佛寺由淺入深的漸進(jìn)關(guān)系即體現(xiàn)了他佛教思想逐步轉(zhuǎn)變與行為躬身實(shí)踐的漸進(jìn)過程。本文通過白居易詩歌與佛寺之關(guān)系這個(gè)角度,在繼承前人豐富成果的基礎(chǔ)上,對白居易與佛教關(guān)系進(jìn)行更加細(xì)化更加深入的探討,希望對白居易與佛教關(guān)系的研究提供一點(diǎn)幫助,給予一些啟示。
[Abstract]:Over the past 100 years since the beginning of the 20th century, with the increasing development of the study of ancient Chinese literature and the growing maturity of literary research in the Tang Dynasty, the academic circles have made fruitful achievements in the study of Bai Juyi, mainly focusing on the school and arrangement of the essays and works of Bai Juyi. Bai Juyi's family background and life, Bai Juyi's ideological tendency, his political attitude and his relationship with Buddhism and Taoism, the theory and creation of his poems and essays, etc. The study of the relationship between Bai Juyi and Buddhism has always been a hot issue in academic circles, and has been a hot issue in Bai Juyi since the 1980s. As the material and cultural carrier of Buddhism, Buddhist temple plays an important role in Bai Juyi's Buddhist poems. The relationship between Bai Juyi's poetry and the Buddhist temple is based on the detailed analysis of his poetry works, and explains the relationship between his poetry and the Buddhist temple. The main body of the thesis is divided into three parts: the first chapter is about Bai Juyi's poetry creation about Buddhist temple during the temple period, which is the first stage of the relationship between Bai Juyi and Buddhist temple, from the 16th year of Tang Dezong Zhenyuan (800) to Yuan Dynasty and nine years (814). In this period, Bai Juyi only regarded the Buddhist temple as a scenic spot, and the Buddhist temple objectively provided a place for poets and friends to make friends. Therefore, Bai Juyi created some Buddhist temple poems to write scenery, friendship poems and so on. This reflects the common influence of Buddhist temples on poems of Tang Dynasty poets, and is roughly the same as other literati's poems of Buddhist monasteries. The typical embodiment of the relationship in this period is the creation of Xianyou Temple and the Song of Eternal resentment. In the second chapter, the author writes about Bai Juyi's poetry creation about Buddhist temple during the period of perched heart in the temple, which is the second stage of the relationship between Bai Juyi and the Buddhist temple, from the Yuan Dynasty to the ninth year (814) to the Great Harmony nine years (835). Among them, Yuan and Nine years (814) Bai Juyi wrote "Yu Wuken Temple poem 130 Rhyme", which symbolized his change from dwelling to perch. After Bai Juyi was demoted from Jiangzhou in Tang Xianzong Yuan and Ten years (815), he began to travel frequently with Buddhist monks on the material basis of Buddhist monasteries, thus constructing his extremely complicated Buddhist belief system. The Buddhist temple in this period wrote landscape poems, chanting poems, friendship poems with a strong Buddhist color. In this period, Bai Juyi also began to pay attention to Buddhist practice, taking the Buddhist temple as the center, carried out a series of practice activities of the unity of knowledge and practice. In the third chapter, the author writes about the poetry creation of Bai Juyi and the body and mind of the Buddhist temple, which is the third stage of the relationship between Bai Juyi and the Buddhist temple, ranging from nine years (835) to six years (846) of Huichang. In this period, Bai Juyi's practice of Buddhism became more and more frequent and in-depth. The concrete manifestation of the unity of knowledge and practice was to practice and observe precepts, to do meritorious deeds, and to store collections of works in Buddhist monasteries. The combination of body and mind refers to Bai Juyi's personal choice to convert to Buddhism in his twilight years, claiming himself to be a scholar of Xiangshan Temple and merging himself with Xiangshan Temple. The gradual relationship between Bai Juyi's poetry and the Buddhist temple reflects the gradual process of his Buddhist thought's gradual transformation and his practice of stooping. From the angle of the relationship between Bai Juyi's poetry and the Buddhist temple, this paper, on the basis of inheriting the rich achievements of the predecessors, makes a more detailed and in-depth discussion on the relationship between Bai Juyi and Buddhism. Hope to provide some help and enlightenment to the study of the relationship between Bai Juyi and Buddhism.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.22
本文編號：2417509
[Abstract]:Over the past 100 years since the beginning of the 20th century, with the increasing development of the study of ancient Chinese literature and the growing maturity of literary research in the Tang Dynasty, the academic circles have made fruitful achievements in the study of Bai Juyi, mainly focusing on the school and arrangement of the essays and works of Bai Juyi. Bai Juyi's family background and life, Bai Juyi's ideological tendency, his political attitude and his relationship with Buddhism and Taoism, the theory and creation of his poems and essays, etc. The study of the relationship between Bai Juyi and Buddhism has always been a hot issue in academic circles, and has been a hot issue in Bai Juyi since the 1980s. As the material and cultural carrier of Buddhism, Buddhist temple plays an important role in Bai Juyi's Buddhist poems. The relationship between Bai Juyi's poetry and the Buddhist temple is based on the detailed analysis of his poetry works, and explains the relationship between his poetry and the Buddhist temple. The main body of the thesis is divided into three parts: the first chapter is about Bai Juyi's poetry creation about Buddhist temple during the temple period, which is the first stage of the relationship between Bai Juyi and Buddhist temple, from the 16th year of Tang Dezong Zhenyuan (800) to Yuan Dynasty and nine years (814). In this period, Bai Juyi only regarded the Buddhist temple as a scenic spot, and the Buddhist temple objectively provided a place for poets and friends to make friends. Therefore, Bai Juyi created some Buddhist temple poems to write scenery, friendship poems and so on. This reflects the common influence of Buddhist temples on poems of Tang Dynasty poets, and is roughly the same as other literati's poems of Buddhist monasteries. The typical embodiment of the relationship in this period is the creation of Xianyou Temple and the Song of Eternal resentment. In the second chapter, the author writes about Bai Juyi's poetry creation about Buddhist temple during the period of perched heart in the temple, which is the second stage of the relationship between Bai Juyi and the Buddhist temple, from the Yuan Dynasty to the ninth year (814) to the Great Harmony nine years (835). Among them, Yuan and Nine years (814) Bai Juyi wrote "Yu Wuken Temple poem 130 Rhyme", which symbolized his change from dwelling to perch. After Bai Juyi was demoted from Jiangzhou in Tang Xianzong Yuan and Ten years (815), he began to travel frequently with Buddhist monks on the material basis of Buddhist monasteries, thus constructing his extremely complicated Buddhist belief system. The Buddhist temple in this period wrote landscape poems, chanting poems, friendship poems with a strong Buddhist color. In this period, Bai Juyi also began to pay attention to Buddhist practice, taking the Buddhist temple as the center, carried out a series of practice activities of the unity of knowledge and practice. In the third chapter, the author writes about the poetry creation of Bai Juyi and the body and mind of the Buddhist temple, which is the third stage of the relationship between Bai Juyi and the Buddhist temple, ranging from nine years (835) to six years (846) of Huichang. In this period, Bai Juyi's practice of Buddhism became more and more frequent and in-depth. The concrete manifestation of the unity of knowledge and practice was to practice and observe precepts, to do meritorious deeds, and to store collections of works in Buddhist monasteries. The combination of body and mind refers to Bai Juyi's personal choice to convert to Buddhism in his twilight years, claiming himself to be a scholar of Xiangshan Temple and merging himself with Xiangshan Temple. The gradual relationship between Bai Juyi's poetry and the Buddhist temple reflects the gradual process of his Buddhist thought's gradual transformation and his practice of stooping. From the angle of the relationship between Bai Juyi's poetry and the Buddhist temple, this paper, on the basis of inheriting the rich achievements of the predecessors, makes a more detailed and in-depth discussion on the relationship between Bai Juyi and Buddhism. Hope to provide some help and enlightenment to the study of the relationship between Bai Juyi and Buddhism.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.22
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