论释惠洪对陶渊明接受的承袭与创见  

On Huihong s Inheritance and Innovation in Tao Yuanming s Reception

作　　者：陈莜烨 CHEN Youye

机构地区：[1]山东大学文学院

出　　处：《西南交通大学学报（社会科学版）》2021年第6期34-46,共13页Journal of Southwest Jiaotong University(Social Sciences)

摘　　要：北宋诗僧释惠洪推崇陶渊明诗文,在陶渊明接受史上占据重要地位。惠洪结合“文字禅”理论对“无弦琴”的双重玄学意蕴进行的解读,契合陶渊明的玄学思维以及魏晋“言意之辨”的思想内涵。在诗文风貌评价上,他首次提出“彭泽诗中图画”的创见,为后代陶渊明诗意题材绘画创作提供了理论基础。惠洪性格率真,赞赏陶渊明委心从性、为人真诚、洞见守节的“坦率”人格。他对陶渊明的接受,既与以苏轼为代表的文人主流意识趋同,也有另辟新见之处,体现出宋代三教合流的文化特征。Huihong,a Buddhist poet in the Northern Song Dynasty,praised Tao Yuanming s poems.He played an important role in the history of Tao s reception.His contribution should not be ignored.Combining with the theory of“language Chan”,he explained the double metaphysical implication of“No-String Qin”,which accorded with the metaphysics thinking of Tao Yuanming and the ideological connotation of“discrimination between language and meaning”.He made his comment on Tao Yuanming s poetic style followed the basic views of predecessors and contemporaries.He put forward the idea of“paintings in Peng Ze s poems”for the first time,which provides a theoretical basis for future generations of Tao poetry paintings.His open nature gave him credit for Tao Yuanming s frank personality that is about commitment to character,sincerity,and insight and integrity about politics.His reception of Tao not only converged with the mainstream consciousness of literati represented by Su Shi,but also reveals the cultural characteristics of the three religions integration in the Song Dynasty.

关 键 词：宋代文学 文学接受史 惠洪 陶渊明 无弦琴 诗中图画 三教合流 

分 类 号：I206.2[文学—中国文学]