慧远庐山教团的文学创作与咏物诗  

The Literary Theory of Lushan Religious Groups and the Creation of Object-Chanting Poetry

作　　者：钟志强[1] ZHONG Zhi-qiang(Nanchang Normal University,Nanchang 330032,China)

机构地区：[1]南昌师范学院,江西南昌330032

出　　处：《南昌师范学院学报》2019年第6期126-128,共3页Journal of Nanchang Normal University

基　　金：江西省艺术科学规划项目“庐山佛教文化与六朝咏物诗关系研究”(YG2015086)阶段性成果。

摘　　要：慧远庐山教团对六朝文学创作的影响较有研究价值,而学界尚未重视。庐山教团现存作品虽然没有留下真正意义上的咏物诗作,但其以山水、佛菩萨为吟咏中心的诗歌、韵文,以及诗集序等作品中流露出的文学观都可帮助我们了解其与咏物诗创作的联系。庐山教团对物像的执着,以其为展示佛理的重要手段对文士“重象”的创作观有重要影响。而其对诗中之“象”提出的更高标准——感兴,对陈子昂等人的兴寄说及后世形神兼备的咏物诗作有先导意义。The influence of Huiyuan Lushan Religious Groups on the literary creation of the Six Dynasties is of great research value,but the academic circles have not paid enough attention to it.Although the extant works of Lushan Church have not left the poems of chanting objects in the true sense,their poems,rhymes and prefaces of poems with mountains and rivers,Buddhas and Bodhisattvas as their chanting centers can help us understand their relationship with the creation of chanting objects poems.The perseverance of Lushan Mission to objects as an important means to show Buddhism has an important influence on the literati's creative concept of“attach importance to images”.It is of guiding significance to Chen Ziang's“Xing-Jin”theory and his later poems of chanting objects with both form and spirit.

关 键 词：慧远 庐山教团 文学创作 咏物诗 

分 类 号：I206.2[文学—中国文学]