萨迦班智达贡噶坚赞文学思想与藏族文论体系的雏形  

Two perspectives of Sapan in Literature and the original feature of Tibetan Literature

作　　者：完代克 Bendekhar(Central Minzu University,Beijing,100081)

机构地区：[1]中央民族大学中国少数民族语言文学学院

出　　处：《西藏大学学报（藏文版）》2022年第3期35-54,193,194,共22页Journal of Tibet university

摘　　要：萨迦班智达贡噶坚赞从小系统学习声明学、修辞学、诗学等文学相关理论,为钻研藏族传统十明学打下了坚实基础。他的《诗论贤者口饰》(■)成为藏族文论的开山之作,后收录于《智者入门》,与《乐论》中的“语词篇”成为探究其文学思想的两部重要论著。文章认为,萨迦班智达创造性地提出了两种观点:一是认为“味”(■)是文学的灵魂;二是认为文学创作先要研究创作对象,后要研究如何叙述问题。为此建构了具有独创性的知识框架,并将其运用于文学创作实践中,体现了理论的系统性和实用性。他的观点虽受印度古代文论的影响,却没有照搬全收,做到了去芜存菁。从中看出,萨迦班智达在接受印度古代文论时的主体性和选择性,为藏族传统文论的形成奠定了坚实基础。Sakya Pandita received systematic education from the masters such as Pandita Sambhashri of Nepal once he was around 20 years old and became proficient in 10 sciences.For example,The Poetics:A Verbal Ornament of the Masters(snyan ngag mochas pavi kha rgyan in Tibetan)is the very first Tibetan publication in poetics which is collected in the section of"the principle of writing"in the Gateway of Knowledge(mkhas pa vjug pavi sgo in Tibetan).This section and the section of"rhetorics"in the Musical Treatise(rol movi bstan bcos in Tibetan)share main focus of writing.These two works provide two perspectives,namely,whatever is about to write,the subjects must be investigated first of all,secondly the concerned methodology of the actual writing must be applied.These two perspectives appear special as they are generated from the perspectives combining Linguistics,Poetics,Logic and Buddhism.Since then,a new theory of the Tibetan Literature occurred.

关 键 词：“味” 创作对象 创作方法 

分 类 号：I20[文学—中国文学]