宫体诗与佛教诗——理解南朝诗歌的两个维度  

Palace-style Poetry and Buddhist Poetry:Two Key Points of Understanding the Southern Poetry

作　　者：辛鹏宇 Xin Pengyu

机构地区：[1]北京语言大学中华文化研究院 [2]西安外国语大学中国语言文学学院

出　　处：《中国文化研究》2022年第4期114-124,共11页Chinese Culture Research

基　　金：国家社科基金重大项目“中国汉传佛教文学思想史”(18ZDA239);陕西本科和高等教育教学改革研究项目“课程思政视阈下中国古代文学研究导向型教学模式研究与实践”(21ZY006);西安外国语大学教改基金资助教学改革项目“中国古代文学课程思政:实景、翻转教学研究与实践”(20BZG01)的阶段性成果。

摘　　要：宫体诗在南朝兴盛,佛教诗在南朝生成,二者都是该时期诗学及佛学创新发展的成果。宫体诗与佛教诗在思想内容及审美境界上分别呈现出“色”与“空”、“收”与“放”两个方面的特质。这两种看似对立的诗歌类型本质上其实是互补关系,二者共同指向了南朝诗人对“性情”与“心性”的关注与诉求。分析同一位诗人同时创作宫体诗与佛教诗的文学现象,能够为研究南朝文人的精神风貌提供一个独特的视角。研究南朝宫体诗与佛教诗的圆融与互动,对于准确把握南朝诗学特质以及佛学对诗学的影响具有重要意义。Palace style poetry flourished in the Southern Dynasties.At the same time,Buddhist poetry came into being.Both of palace-style and Buddhist poetry were the fruits of the innovative development of poetics and Buddhism during the period.In terms of ideological content and aesthetic realm,palace-style poetry and Buddhist poetry respectively show two different characteristics.The two types of poetry which seem to be opposite are actually not different.They call for human nature.This literary phenomenon provides an unique perspective for exploring the spiritual outlook of literati in the Southern Dynasties.To study the interaction between palace-style poetry and Buddhist poetry has great significance for accurately grasping the poetic characteristics of the Southern Dynasties.

关 键 词：南朝 宫体诗 佛教诗 心性 

分 类 号：I222[文学—中国文学]