白居易的诗歌与佛寺之关系研究
发布时间：2019-01-29 01:34
【摘要】：20世纪初至今的一百年多来,随着中国古代文学研究的日益发展和唐代文学研究的日益成熟,学界对白居易的研究取得了丰硕的成果,主要集中在白居易作品的笺校与整理、白居易的家世和生平、白居易的思想倾向、政治态度及与佛道的关系、白居易的诗文理论与创作等方面。而对白居易与佛教的关系研究一向是学界讨论较多的问题,自上世纪八十年代以来一直是白居易研究的热点问题。佛寺作为佛教的物质文化载体,在白居易与佛教有关的诗歌作品中占有很重要的地位。白居易的诗歌与佛寺的关系即是在对其诗歌作品进行详细梳理和分析的基础上,对其诗歌与佛寺的关系进行阐释。论文主体分三部分:第一章,写白居易栖身于寺时期与佛寺有关的诗歌创作,栖身于寺是白居易与佛寺关系的第一阶段,从唐德宗贞元十六年(800)至元和九年(814)。这一时期,白居易只是把佛寺当做游山玩水的景点,而佛寺客观上为诗人与友人提供了交游的场所,白居易因而创作出了一些佛寺写景诗、交游诗等。这体现了佛寺对唐代诗人诗歌影响的共性,与其他文人的佛寺诗大致相同。这一时期体现栖身于寺关系的典型是仙游寺与《长恨歌》的创作。第二章,写白居易栖心于寺时期与佛寺有关的诗歌创作,栖心于寺是白居易与佛寺关系的第二阶段,从元和九年(814)到大和九年(835)。其中元和九年(814)白居易创作的《游悟真寺诗一百三十韵》标志着他对佛寺由栖身转变为栖心。元和十年(815)白居易被贬江州后,他开始与寺僧以佛寺为物质依托而开始频繁的交游,从而构建了其极为庞杂的佛教信仰体系。这一时期的佛寺写景诗、咏物诗、交游诗都带有强烈的佛教色彩。这一时期白居易亦开始注重佛教实践,以佛寺为中心开展了一系列知行合一、凡圣合一的实践活动。第三章,写白居易与佛寺身心合一时期的诗歌创作,与佛寺身心合一是白居易与佛寺关系的第三阶段,从大和九年(835)到会昌六年(846)。这一时期白居易对佛教的践行愈发频繁而深入,知行合一的具体表现是修行守戒、做功德、存放文集于佛寺;身心合一指白居易晚年流连香山寺,以“香山居士”自称,彻底把自己与香山寺融合为一体,这鲜明地体现了他皈依佛教的个人选择。白居易诗歌与佛寺由浅入深的渐进关系即体现了他佛教思想逐步转变与行为躬身实践的渐进过程。本文通过白居易诗歌与佛寺之关系这个角度,在继承前人丰富成果的基础上,对白居易与佛教关系进行更加细化更加深入的探讨,希望对白居易与佛教关系的研究提供一点帮助,给予一些启示。
[Abstract]:Over the past 100 years since the beginning of the 20th century, with the increasing development of the study of ancient Chinese literature and the growing maturity of literary research in the Tang Dynasty, the academic circles have made fruitful achievements in the study of Bai Juyi, mainly focusing on the school and arrangement of the essays and works of Bai Juyi. Bai Juyi's family background and life, Bai Juyi's ideological tendency, his political attitude and his relationship with Buddhism and Taoism, the theory and creation of his poems and essays, etc. The study of the relationship between Bai Juyi and Buddhism has always been a hot issue in academic circles, and has been a hot issue in Bai Juyi since the 1980s. As the material and cultural carrier of Buddhism, Buddhist temple plays an important role in Bai Juyi's Buddhist poems. The relationship between Bai Juyi's poetry and the Buddhist temple is based on the detailed analysis of his poetry works, and explains the relationship between his poetry and the Buddhist temple. The main body of the thesis is divided into three parts: the first chapter is about Bai Juyi's poetry creation about Buddhist temple during the temple period, which is the first stage of the relationship between Bai Juyi and Buddhist temple, from the 16th year of Tang Dezong Zhenyuan (800) to Yuan Dynasty and nine years (814). In this period, Bai Juyi only regarded the Buddhist temple as a scenic spot, and the Buddhist temple objectively provided a place for poets and friends to make friends. Therefore, Bai Juyi created some Buddhist temple poems to write scenery, friendship poems and so on. This reflects the common influence of Buddhist temples on poems of Tang Dynasty poets, and is roughly the same as other literati's poems of Buddhist monasteries. The typical embodiment of the relationship in this period is the creation of Xianyou Temple and the Song of Eternal resentment. In the second chapter, the author writes about Bai Juyi's poetry creation about Buddhist temple during the period of perched heart in the temple, which is the second stage of the relationship between Bai Juyi and the Buddhist temple, from the Yuan Dynasty to the ninth year (814) to the Great Harmony nine years (835). Among them, Yuan and Nine years (814) Bai Juyi wrote "Yu Wuken Temple poem 130 Rhyme", which symbolized his change from dwelling to perch. After Bai Juyi was demoted from Jiangzhou in Tang Xianzong Yuan and Ten years (815), he began to travel frequently with Buddhist monks on the material basis of Buddhist monasteries, thus constructing his extremely complicated Buddhist belief system. The Buddhist temple in this period wrote landscape poems, chanting poems, friendship poems with a strong Buddhist color. In this period, Bai Juyi also began to pay attention to Buddhist practice, taking the Buddhist temple as the center, carried out a series of practice activities of the unity of knowledge and practice. In the third chapter, the author writes about the poetry creation of Bai Juyi and the body and mind of the Buddhist temple, which is the third stage of the relationship between Bai Juyi and the Buddhist temple, ranging from nine years (835) to six years (846) of Huichang. In this period, Bai Juyi's practice of Buddhism became more and more frequent and in-depth. The concrete manifestation of the unity of knowledge and practice was to practice and observe precepts, to do meritorious deeds, and to store collections of works in Buddhist monasteries. The combination of body and mind refers to Bai Juyi's personal choice to convert to Buddhism in his twilight years, claiming himself to be a scholar of Xiangshan Temple and merging himself with Xiangshan Temple. The gradual relationship between Bai Juyi's poetry and the Buddhist temple reflects the gradual process of his Buddhist thought's gradual transformation and his practice of stooping. From the angle of the relationship between Bai Juyi's poetry and the Buddhist temple, this paper, on the basis of inheriting the rich achievements of the predecessors, makes a more detailed and in-depth discussion on the relationship between Bai Juyi and Buddhism. Hope to provide some help and enlightenment to the study of the relationship between Bai Juyi and Buddhism.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22
本文编号：2417509
[Abstract]:Over the past 100 years since the beginning of the 20th century, with the increasing development of the study of ancient Chinese literature and the growing maturity of literary research in the Tang Dynasty, the academic circles have made fruitful achievements in the study of Bai Juyi, mainly focusing on the school and arrangement of the essays and works of Bai Juyi. Bai Juyi's family background and life, Bai Juyi's ideological tendency, his political attitude and his relationship with Buddhism and Taoism, the theory and creation of his poems and essays, etc. The study of the relationship between Bai Juyi and Buddhism has always been a hot issue in academic circles, and has been a hot issue in Bai Juyi since the 1980s. As the material and cultural carrier of Buddhism, Buddhist temple plays an important role in Bai Juyi's Buddhist poems. The relationship between Bai Juyi's poetry and the Buddhist temple is based on the detailed analysis of his poetry works, and explains the relationship between his poetry and the Buddhist temple. The main body of the thesis is divided into three parts: the first chapter is about Bai Juyi's poetry creation about Buddhist temple during the temple period, which is the first stage of the relationship between Bai Juyi and Buddhist temple, from the 16th year of Tang Dezong Zhenyuan (800) to Yuan Dynasty and nine years (814). In this period, Bai Juyi only regarded the Buddhist temple as a scenic spot, and the Buddhist temple objectively provided a place for poets and friends to make friends. Therefore, Bai Juyi created some Buddhist temple poems to write scenery, friendship poems and so on. This reflects the common influence of Buddhist temples on poems of Tang Dynasty poets, and is roughly the same as other literati's poems of Buddhist monasteries. The typical embodiment of the relationship in this period is the creation of Xianyou Temple and the Song of Eternal resentment. In the second chapter, the author writes about Bai Juyi's poetry creation about Buddhist temple during the period of perched heart in the temple, which is the second stage of the relationship between Bai Juyi and the Buddhist temple, from the Yuan Dynasty to the ninth year (814) to the Great Harmony nine years (835). Among them, Yuan and Nine years (814) Bai Juyi wrote "Yu Wuken Temple poem 130 Rhyme", which symbolized his change from dwelling to perch. After Bai Juyi was demoted from Jiangzhou in Tang Xianzong Yuan and Ten years (815), he began to travel frequently with Buddhist monks on the material basis of Buddhist monasteries, thus constructing his extremely complicated Buddhist belief system. The Buddhist temple in this period wrote landscape poems, chanting poems, friendship poems with a strong Buddhist color. In this period, Bai Juyi also began to pay attention to Buddhist practice, taking the Buddhist temple as the center, carried out a series of practice activities of the unity of knowledge and practice. In the third chapter, the author writes about the poetry creation of Bai Juyi and the body and mind of the Buddhist temple, which is the third stage of the relationship between Bai Juyi and the Buddhist temple, ranging from nine years (835) to six years (846) of Huichang. In this period, Bai Juyi's practice of Buddhism became more and more frequent and in-depth. The concrete manifestation of the unity of knowledge and practice was to practice and observe precepts, to do meritorious deeds, and to store collections of works in Buddhist monasteries. The combination of body and mind refers to Bai Juyi's personal choice to convert to Buddhism in his twilight years, claiming himself to be a scholar of Xiangshan Temple and merging himself with Xiangshan Temple. The gradual relationship between Bai Juyi's poetry and the Buddhist temple reflects the gradual process of his Buddhist thought's gradual transformation and his practice of stooping. From the angle of the relationship between Bai Juyi's poetry and the Buddhist temple, this paper, on the basis of inheriting the rich achievements of the predecessors, makes a more detailed and in-depth discussion on the relationship between Bai Juyi and Buddhism. Hope to provide some help and enlightenment to the study of the relationship between Bai Juyi and Buddhism.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22
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