以“狮子返掷”与“狮子返掷势”为例论诗禅关系的两个面相  

“Lion’s Somersault”and“the Tendentiousness of Lion’s Somersault”:On the Two Aspects of the Relation Between Poem and Chan

作　　者：贾光佐 Jia Guangzuo

机构地区：[1]日本东北大学文学研究科

出　　处：《中国美学》2022年第2期286-297,共12页Chinese Aesthetics

摘　　要：晚唐至两宋被认为是诗禅关系的“沟通而融合的时期”,具体有“以禅参诗”与“以禅论诗”两种形态。显然这是以诗为主体得出的结论。“狮子返掷”也多从“以禅论诗”的角度被研究、讨论。其实,“狮子返掷”作为诗学术语,也是由诗来说明、表达禅的境界,即存在“以禅论诗”与“以诗论禅”的两个方面,但后者往往为人所忽略。本文试图在确定“狮子返掷”的含义之基础上,通过对两个方面的比较来说明诗禅之间交互影响与深度融合的过程。The period from the late Tang Dynasty to Song Dynasty was regarded as a time when the relationship between poetry and Chan was“fusion and communication.”Specifically,there are two forms of this relationship:“interpreting poetry through Chan”and“discussing poetry with Chan.”These forms are obviously centered on poetry,which have been the dominant paradigm to discuss cases including the“Lion’s Somersault.”This paper argues that,in fact,as a poetry terminology,“lion’s somersault”is also a state of Chan explained and expressed via poetry;i.e.,it simultaneously involves two aspects:“interpreting poetry through Chan”and“understanding Chan with poetry,”of which the latter is often neglected.This article attempts to start from the definition of“lion’s somersault”and compare these two aspects to illustrate the process of interaction between and deep integration of poetry and Chan.

关 键 词：诗禅融合 齐己 大阳警玄 诗势 狮子返掷 

分 类 号：I207.22[文学—中国文学] B946.5[哲学宗教—宗教学]