空海法师的骈文主张和创作实践  

Master Kukai’s views on parallel prose and creative writing practice

作　　者：于景祥 Yu Jingxiang(School of Literature and Journalism,Inner Mongolia University for Nationalities,Tongliao 028000,China)

机构地区：[1]内蒙古民族大学文学院,内蒙古通辽028000

出　　处：《辽宁师范大学学报(社会科学版)》2025年第1期64-71,共8页Journal of Liaoning Normal University(Social Science Edition)

基　　金：国家社会科学基金重大项目“中国骈文批评通史”(22&ZD259)。

摘　　要：日本的空海法师不仅是一位佛学大师,而且在骈文方面也有独特之处:一方面,他有比较具体的骈文主张,对骈文的形成原因、存在价值、创作方法等都有理论上的自觉;另一方面,他从青年时代起就用汉文进行骈文创作,不仅在对偶、用典、藻饰、声律四个要素上下过很多工夫,取得可观的成就,而且还自觉地变通骈散,各取所长,在骈散结合上也成效显著。从总体上看,不愧为骈文领域的大手笔。Master Kukai of Japan is not only a great master of Buddhism, but also has unique insights into parallel prose. On the one hand, he has relatively specific views on parallel prose, with theoretical awareness of the causes of its formation, its value and methods of creation. On the orther hand, since his youth, he has created parallel prose in classical Chinese, not only making significant efforts in the four elements of antithesis, allusion,ation and rhythm, but also consciously integrating parallel and free prose, taking the best of both, and achieving remarkable results in the combination of parallel and free prose.

关 键 词：日本 空海法师 骈文主张 创作实践 

分 类 号：I206.2[文学—中国文学]