论南宋“以禅喻诗”视域中诗学旨趣的嬗变  

The Phylogeny of “The Implication of Dhyana in Poetry” in Southern Song Dynasty

作　　者：李栋辉[1,2] 

机构地区：[1]西南财经大学人文学院,四川成都611130 [2]北京师范大学大文艺学研究中心,广东广州510275

出　　处：《兰州学刊》2015年第3期74-79,共6页

基　　金：2011年度教育部人文社会科学重点研究基地重大项目“宋金元文艺思想史”(项目编号:11JJD750009);中子项目“宋金诗学思想史”;中国博士后科学基金资助项目“文化重构视域中的南宋与金代诗歌比较研究”(项目编号:2014M552261)的阶段性成果

摘　　要：南宋诗坛"以禅喻诗"视域中诗学旨趣的变迁可从三个层面谈起:首先,江西诗派"以禅喻诗",注重从"渐修"到"顿悟",目的在于追求流转圆美的诗歌境界,以此纠正江西诗派后学的模拟之弊;其次,主张走出江西诗风限制的诗人,则主张以"顿悟"为先,其中以严羽最为代表,目的在于回归"吟咏情性"的复古诗风。其三,南宋晚期,诗坛甚至出现了对"以禅喻诗"的反驳,认为诗与禅应回归"本位",二者之间并无相似之处。南宋"以禅喻诗"视域中诗学旨趣的演变旁证了南宋诗学思想史的发展历程。The phylogeny of“the implication of dhyana in poetry”in southern song dynasty can be discussed from three Perspective：Firstly,“the im-plication of dhyana in poetry”in JiangXi Poetry School,pay attention to from the“practice”to“Epiphany”,aim to the pursuit of poetic realm like nature itself,in order to correct the simulation of the disadvantages in jiangxi poetry School;Secondly,some poets whom argues that we should abandon the style of jiangxi poetry,advocated“Epiphany”to“practice”,Yan yu,who was one of the most representative poets,and he pays attention to“Subtle Enlight-enment”,aim at returning to the tradition of ancient Poems. Thirdly ,there appeared the opposite sides of“the implication of dhyana in poetry”in the late southern song,They even thought there are no similarities between“poetry”and“dhyana”. The phylogeny of“the implication of dhyana in poetry”in southern song dynasty indirectly proves that the development of poetic theory in the southern song dynasty.

关 键 词：南宋 以禅喻诗 渐修 顿悟 本位 

分 类 号：I206.2[文学—中国文学]