玄奘东归与达摩西归的文学书写及其宗教意蕴——以“摩顶松”“只履西归”为例  

Literary Writing and Religious Implication of Xuanzang's Returning to East and Dharma's Returning to West:In the Case of“Moding Pine”and“Returning to West with One Shoe”

作　　者：李小荣[1] LI Xiao-rong(College of Literature, Fujian Normal University, Fuzhou 350007, Fujian, China)

机构地区：[1]福建师范大学文学院,福建福州350007

出　　处：《石河子大学学报（哲学社会科学版）》2019年第1期102-111,共10页Journal of Shihezi University(Philosophy and Social Sciences)

基　　金：国家社科基金重点项目"禅宗语录文学特色之综合研究"(16AZW007);福建省高校创新团队"传统宗教与中国文学研究"暨中青年理论人才资助项目"汉传佛教与古代文论的关联性研究"

摘　　要：在中国佛教史上,玄奘是从本土西去求法高僧的典型,达摩则是从印度东来传法的代表。有趣的是,佛教文学对二者圣僧形象的塑造,都着力于表现其"行脚僧"的本色,并且都有"还乡"主题及相关故事的文学书写。其中,预示玄奘东归的故事是"摩顶松",而表现达摩西回的是"只履西归"。两者都注重回归过程的神奇叙事,但其宗教意蕴却有"空""有"之别。In the history of Chinese Buddhism, Xuanzang is a typical example of seeking for scripture in the West from China, while Dharma is his counterpart in transmitting religion to East from India. Interestingly, the shape of their sage images in Buddhist literature shows their feature of being itinerant monks and includes both theme of “native returning” and literary writings about related stories. Among the stories,“Moding Pine”is the story which predict Xuanzang’s returning to East, while “Returning to West with One Shoe” is the story which shows Dharma’s returning to West. Both stories focus on the mysterious narration of returning, but their religious implications are different, one being“the emptiness” and other being “the having”.

关 键 词：“摩顶松” “只履西归” 神奇叙事 “空”“有”之别 

分 类 号：I206.2[文学—中国文学]