《文心雕龙》中的佛教思想  

Buddhism in The Literary Mind and Ornate Rhetoric

作　　者：[美]梅维恒[1] 李卫华(译)[2] Victor H.Mair;LI Weihua(Department of Asian and Middle East Studies,University of Pennsylvania,19104,Philadelphia,U.S.;School of Chinese Language and Literature,Hebei Normal University,050024,Shijiazhuang,China)

机构地区：[1]宾夕法尼亚大学亚洲及中东研究系,费城19104 [2]河北师范大学文学院,石家庄050024

出　　处：《北方工业大学学报》2021年第5期49-57,共9页Journal of North China University of Technology

基　　金：国家社会科学基金一般项目“《文心雕龙》范畴的符号学研究”(18BZW001)。

摘　　要：六朝时期中国文论的日益"文学化",与同一时期中国社会的佛教化进程相呼应。从曹丕的《典论·论文》到陆机的《文赋》、刘勰的《文心雕龙》、空海的《文镜秘府论》、严羽的《沧浪诗话》,诗意的灵感都被描述为"禅"。这是一个多产的文学化/佛教化进程,极大地丰富了中国人的文学观念。《文心雕龙》代表了这一发展过程中的关键阶段,是中国文化传统与印度诗学思想相结合的经典范例。For the last couple of decades, a scholarly debate has raged over whether Buddhism played a significant role in the composition of Wenxindiaolong. The Six Dynasties witnessed the increasing "belletricization" of Chinese literary criticism and theory that paralleled the Buddhicization of Chinese society during the same period and beyond. If we trace the development of Chinese literary criticism and theory from Cao Pi’s "Lun wen"(Essay on literature) through Lu Ji’s "Wen fu"(Rhapsody on literature), Liu Xie’s WXDL, Kūkai’■ to YanYu’s Canglangshihua(Poetry talks by the recluse of Canglang River), where poetic inspiration is characterized as Zen/Chan, we observe a fertile process of belletricization/Buddhicization that greatly enriched Chinese reflections upon and conceptualizations of literature. WXDL represents a key stage in that development and is a classic example of the combination of Chinese cultural tradition and Indian Poetics.

关 键 词：《文心雕龙》 佛教 印度诗学 

分 类 号：I0[文学—文学理论]