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作 者:王彦明 Wang Yanming(the School of Chinese Language and Literature,Jiangxi Normal University)
机构地区:[1]江西师范大学文学院,江西省南昌市330022
出 处:《文艺理论研究》2024年第5期192-204,共13页Theoretical Studies in Literature and Art
基 金:国家社会科学基金重大项目“明清释家别集整理与研究”[项目编号:20&ZD269]、国家社会科学基金一般项目“憨山德清《梦游集》整理与研究”[项目编号:22BZW091]阶段性成果。
摘 要:出于以教救禅和藏经刊刻,晚明释子赓续宋代“文字禅”,却将“文字”的重心迁移至佛教经典,并推衍到书法、绘画、戏剧等艺术门类,建构出全新的“文字禅”。佛禅与“文字”本质的深度探求,消解了释子文学创作的禁忌,涌现出尊道贵德、诗乃真禅、文章性天等独具特色的文学思想。他们熔铸佛法、世情,以“雁过长空,影沉寒水”为书法至境;依“五种因缘,和合成就”,构筑戏剧文本、观演规范,昭示着释家戏剧的文体自觉。随着隐元僧团的东渡和黄檗宗的创立,“文字禅”更东传日本,迭代衍生出“翰墨禅”,催生了东亚佛教文化圈的释家艺文盛景。In an effort to preserve Zen and print Jiaxing Tripitaka, Buddhist monks in the late Ming Dynasty inherited the “Literary Text Zen” of the Song Dynasty, while shifting the focus on “literary texts” to Buddhist sutras. This approach was extended to various art forms, including calligraphy, painting, and drama, leading to the creation of a new “literary text Zen.” Their in-depth explorationof the essence of Buddhist Zen and “literary texts” removed traditional taboos surrounding literary creation, fostering unique literary thoughts that emphasized respect for the Tao and virtue, identified poetry as true Zen, and saw literary works as expressions of human nature. They integrated Buddha teachings with the secular world, regarding the image of “swans flying across the sky and their shadows sinking in the water” as the ultimate state of calligraphy. Additionally, based on the principle of “the five elements together archieving harmony, ” they formulated norms for Buddhist drama creation and performance, which reflected an awareness of a distinctive Buddhist drama style. The voyage of Yinyuan Buddhist group to Japan and the establishment of Huangbo Zen Buddhism further spread “Literary Text Zen” circulated further to Japan, resulting in the birth of “Literary and Art Zen.” These developments yielded the prominence of Buddhist literary and artistic creation in the Buddhist cultural circle of East Asia.
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