《维摩诘经》文献与文学研究
发布时间：2018-08-18 16:38
【摘要】：《维摩诘经》是早期传入中国的大乘佛教经典,也是最受中国知识份子喜爱、带有文学色彩的佛教典范,经中提倡“出家不离家”的居士信仰,对中国文人产生了极大影响,从而成为少数完全融入中国文化的佛教经典之一。自传入中国之始,此经先后出现七个汉译本,其中支谦译本、罗什译本、玄奘译本均存于世。本文先从文献的角度考察《维摩诘经》在印度的形成及中国的流传情况,并对现存三个汉译本的译者、译文进行比较和分析,以探讨《维摩诘经》不同译本间的传承关系、流行程度及文体特点；再从中国古代作家对《维摩诘经》的征引入手,以期了解《维摩诘经》对中国古代文学作品的影响。 绪论部分首先概述《维摩诘经》的研究现状,再确定本文的研究思路和目标,说明采用的研究方法。 第一章考察《维摩诘经》在印度的起源以及在中国的弘传。《维摩诘经》是大乘佛学早期经典,现无法确定作者,很可能是龙树弟子所造；另外,梵文《维摩诘经》一度亡佚,但1999年日本学者在西藏考察时发现梵文《维摩诘经》尚存于世,2004年日本大正大学综合佛教研究所梵语佛典研究会编著的《维摩经：梵藏汉对照》出版面世。 第二章考察现存三种汉译本的译师及其背景。文献主要介绍三位译师生平、译经情况、译经主张及其成就,对三位译师生活的不同时代进行比较,并引入美国翻译理论家劳伦斯·韦努蒂在《译者的隐形》一书中提出的异化和归化的概念来分析三个汉译本的文化取向。 第三章对现存三种汉译《维摩诘经》进行文献研究。本章主要是比较分析三汉本的译文字数、译经品目、传承关系。字数方面,支谦译本最简,罗什译本较支译本为繁,玄奘译本最繁,其原因与三译者译经动机密不可分。品目方面,三译本均作十三品,品名有同有异,本章结合辞书考述同品异名之间的关系。传承方面,罗什译本吸取支谦译本经验,玄奘则对前两者均有吸收,由支谦译本对后来译师的影响,可知支谦译本功不可没。 第四章亦为文献研究,主要对现存三译本文体、句式特点、译本流行情况进行了考察。支谦译本和罗什译《维摩诘经》以四言为主,其中原因是：《老子》的影响；四言句式与梵文佛典庄重典雅的风格相吻合；佛经记颂的需要；骈文的部分影响。玄奘译本以八言句式为主,成因是：合并什译文的四言句式；不足八言时添加词语构成八言句；八言句式译经与梵文的首卢偈有关。三汉译本流行程度不同,其原因为：译本语言因素、译者个人因素、归化与异化的不同取向。 第五章考察中国古诗中征引《维摩诘经》的情况以探索此经对古诗的影响。六朝“维摩诗”数量最少,艺术性不高却初具规模。唐诗引此经者较多,特点有：居士信仰日常化；想象力丰富；佛仙同列而儒释齐观；佛经词语文学色彩渐浓佛教色彩转淡。宋诗引此经数量为最,特点是：好咏梅花与疾病；大量僧人创作“维摩诗”；风格上有俗化的趋势。金、元、明代“维摩诗”续宋代之余波,可见《维摩诘经》影响并无间断；清代“维摩诗”体现了强烈的爱国主义精神和近代的自由气息。 第六章分析宋词、元曲、明清小说中征引《维摩诘经》的情况,探索其对文学的影响。随着时间的推移,《维摩诘经》与中土文化的融合越来越密切,“维摩”不再是单纯的佛教信仰,而是与词、曲、小说结合在一起,有的作为典故,充实着文学的表现内容；有的成为叙事作品的材料,成为小说中的素材；《维摩诘经》所提倡的“出家不离家”的修行方式还为元杂剧《布袋和尚忍字记》提供了创作灵感与思路。
[Abstract]:The Vimalakian Sutra is a Mahayana Buddhist classic that was introduced into China in the early days. It is also the most popular Buddhist model with literary flavor among Chinese intellectuals. The Buddhist belief of "leaving home without leaving home" advocated in the Sutra has exerted a great influence on Chinese literati, and thus became one of the few Buddhist classics that fully integrated into Chinese culture. There are seven Chinese versions of the Sutra, including Zhiqian's, Rush's and Xuanzang's. This paper first examines the formation of the Sutra of Vimalakia in India and its spread in China from the perspective of literature, and compares and analyzes the translations of the three existing Chinese versions in order to explore the relationship between the different versions of the Sutra of Vimalakia. This paper is concerned with the degree of popularity and stylistic features of the book, and then attempts to understand the influence of the book on Chinese ancient literary works by introducing the Chinese ancient writers'signature on the book.
The introduction first summarizes the research status of Vimalakia, then defines the research ideas and objectives of this paper, and explains the research methods used.
Chapter One examines the origin of the Vimalakian Sutra in India and its spread in China. The Vimalakian Sutra is an early classic of Mahayana Buddhism, and the author is uncertain. It was probably created by the disciples of Dragon Tree. In addition, the Sanskrit Vimalakian Sutra was once lost, but in 1999 Japanese scholars visited Tibet found that the Sanskrit Vimalakian Sutra still exists, 2004. The Vimo Sutra: A Comparison of the Sanskrit, Tibetan and Chinese Languages, compiled by the Sanskrit Buddhist Scripture Research Society of the Institute of Comprehensive Buddhism of Benzheng University, has been published.
Chapter Two examines the three existing Chinese translators and their backgrounds. The literature mainly introduces the life of the three translators, their translations, their views and achievements, compares the different times in which they lived, and introduces the concepts of alienation and domestication proposed by Lawrence Venuti, an American translation theorist, in his book The Translator's Invisibility. The cultural orientation of the three Chinese versions is analyzed.
Chapter Three makes a literature study of the three existing Chinese versions of the Vimalakian Sutra. This chapter mainly makes a comparative analysis of the number of translated texts, the categories and the inheritance of the three Chinese versions. In the aspect of inheritance, Rush's version absorbs the experience of Zhi Qian's version, while Xuan Zang absorbs both of the former. From the influence of Zhi Qian's translation on the later translators, we can see that Zhi Qian's translation is indispensable.
Chapter Four is also a literature study, which examines the stylistic features, sentence patterns and the popularity of the existing three versions. Influences. Xuanzang's translation mainly consists of eight-character sentence patterns, which are caused by the combination of four-character sentence patterns of what is translated; eight-character sentence patterns are formed by adding words when there are not enough eight-character sentences; eight-character sentence patterns are related to Sanskrit's Seoul Nun.
The fifth chapter investigates the quotation of Vimalakian Scripture in ancient Chinese poetry to explore its influence on ancient poetry. The number of Vimalakian poetry in the Six Dynasties was the smallest, but its artistry was not high. There were many quotations in Tang poetry, which were characterized by the daily worship of Buddhists, the richness of imagination, the concurrence of Buddhists and immortals, the unity of Confucianism and Buddhism, and the gradual enrichment of the literary color of Buddhist scripture. Buddhist colors fade. Song poems cite the number of sutras as the most, characterized by: a good chant of plum blossoms and diseases; a large number of monks create "vernacular poems"; style has a tendency to vulgarization. Jin, Yuan, Ming Dynasty "vernacular poems" continue the aftermath of Song Dynasty, it can be seen that the influence of "vernacular sutras" is not interrupted; Qing Dynasty "vernacular poems" embodies a strong patriotic spirit and The freedom of generation.
Chapter Six analyzes the quotation of Vimalakia in Song Ci, Yuan Qu and Ming and Qing novels, and explores its influence on literature. As time goes on, the integration of Vimalakia with Chinese culture is becoming closer and closer. Vimalakia is no longer a simple Buddhist belief, but a combination of words, songs and novels. Some of them are used as allusions to enrich literature. Some of them become the material of narrative works and become the material of novels. The practice of "being a monk without leaving home" advocated in the Vimalakian Sutra also provides inspiration and ideas for the Yuan Zaju opera "The Story of Bu-bag Monk's Tolerance".
【学位授予单位】：华中师范大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：B948
本文编号：2190052
[Abstract]:The Vimalakian Sutra is a Mahayana Buddhist classic that was introduced into China in the early days. It is also the most popular Buddhist model with literary flavor among Chinese intellectuals. The Buddhist belief of "leaving home without leaving home" advocated in the Sutra has exerted a great influence on Chinese literati, and thus became one of the few Buddhist classics that fully integrated into Chinese culture. There are seven Chinese versions of the Sutra, including Zhiqian's, Rush's and Xuanzang's. This paper first examines the formation of the Sutra of Vimalakia in India and its spread in China from the perspective of literature, and compares and analyzes the translations of the three existing Chinese versions in order to explore the relationship between the different versions of the Sutra of Vimalakia. This paper is concerned with the degree of popularity and stylistic features of the book, and then attempts to understand the influence of the book on Chinese ancient literary works by introducing the Chinese ancient writers'signature on the book.
The introduction first summarizes the research status of Vimalakia, then defines the research ideas and objectives of this paper, and explains the research methods used.
Chapter One examines the origin of the Vimalakian Sutra in India and its spread in China. The Vimalakian Sutra is an early classic of Mahayana Buddhism, and the author is uncertain. It was probably created by the disciples of Dragon Tree. In addition, the Sanskrit Vimalakian Sutra was once lost, but in 1999 Japanese scholars visited Tibet found that the Sanskrit Vimalakian Sutra still exists, 2004. The Vimo Sutra: A Comparison of the Sanskrit, Tibetan and Chinese Languages, compiled by the Sanskrit Buddhist Scripture Research Society of the Institute of Comprehensive Buddhism of Benzheng University, has been published.
Chapter Two examines the three existing Chinese translators and their backgrounds. The literature mainly introduces the life of the three translators, their translations, their views and achievements, compares the different times in which they lived, and introduces the concepts of alienation and domestication proposed by Lawrence Venuti, an American translation theorist, in his book The Translator's Invisibility. The cultural orientation of the three Chinese versions is analyzed.
Chapter Three makes a literature study of the three existing Chinese versions of the Vimalakian Sutra. This chapter mainly makes a comparative analysis of the number of translated texts, the categories and the inheritance of the three Chinese versions. In the aspect of inheritance, Rush's version absorbs the experience of Zhi Qian's version, while Xuan Zang absorbs both of the former. From the influence of Zhi Qian's translation on the later translators, we can see that Zhi Qian's translation is indispensable.
Chapter Four is also a literature study, which examines the stylistic features, sentence patterns and the popularity of the existing three versions. Influences. Xuanzang's translation mainly consists of eight-character sentence patterns, which are caused by the combination of four-character sentence patterns of what is translated; eight-character sentence patterns are formed by adding words when there are not enough eight-character sentences; eight-character sentence patterns are related to Sanskrit's Seoul Nun.
The fifth chapter investigates the quotation of Vimalakian Scripture in ancient Chinese poetry to explore its influence on ancient poetry. The number of Vimalakian poetry in the Six Dynasties was the smallest, but its artistry was not high. There were many quotations in Tang poetry, which were characterized by the daily worship of Buddhists, the richness of imagination, the concurrence of Buddhists and immortals, the unity of Confucianism and Buddhism, and the gradual enrichment of the literary color of Buddhist scripture. Buddhist colors fade. Song poems cite the number of sutras as the most, characterized by: a good chant of plum blossoms and diseases; a large number of monks create "vernacular poems"; style has a tendency to vulgarization. Jin, Yuan, Ming Dynasty "vernacular poems" continue the aftermath of Song Dynasty, it can be seen that the influence of "vernacular sutras" is not interrupted; Qing Dynasty "vernacular poems" embodies a strong patriotic spirit and The freedom of generation.
Chapter Six analyzes the quotation of Vimalakia in Song Ci, Yuan Qu and Ming and Qing novels, and explores its influence on literature. As time goes on, the integration of Vimalakia with Chinese culture is becoming closer and closer. Vimalakia is no longer a simple Buddhist belief, but a combination of words, songs and novels. Some of them are used as allusions to enrich literature. Some of them become the material of narrative works and become the material of novels. The practice of "being a monk without leaving home" advocated in the Vimalakian Sutra also provides inspiration and ideas for the Yuan Zaju opera "The Story of Bu-bag Monk's Tolerance".
【学位授予单位】：华中师范大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：B948
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