寒山及其诗研究

【作者】 崔小敬；

【导师】 陈允吉；

【作者基本信息】 复旦大学 ， 中国古代文学， 2004， 博士

【摘要】 本篇论文以寒山及其诗为题,全文包括前言、上篇、下篇及附录四个部分。前言分为寒山诗的流传、结集及版本、寒山诗与寒山其人、寒山诗的思想与风格、寒山诗的传播与寒山体四个方面,对历史上的寒山研究历程及现状作了简要评述。上篇“探寻篇”对现在传世的寒山资料进行了系统的梳理与归纳,认为有关寒山的大多数记载均非可靠的信史,而是一种传说。所谓寒山的事迹在本质上是一个传说发生、发展和流变的过程,从早期记载中修道者面貌的寒山一变而为文殊化身,并与普贤化身的拾得并称“二圣”,后弥陀化身之丰干再加入,于是“三隐”或“三贤”系统形成。寒山、拾得故事流传至民间,遂与唐代神僧万回的事迹合流,取万回“和合神”之地位而代之,于是再变而为“和合二仙”,成为在民间广受尊崇的喜乐之神。在这一过程中,故事情节越来越丰富复杂,传说流变越来越繁丽神奇,人物面貌越来越生动鲜活。以其对寒山形象塑造所起的作用而言,佛教徒起了最大的作用,逐渐把寒山神化成了文殊菩萨的化身;其次,是民间信仰的巨大力量,最终创造出了“和合二仙”这样土生土长的神祇形象;再次,是道教徒对寒山形象的重塑,虽然作为道教人士的寒山没有前二者那样声名显赫,但道教徒始终没有放弃对寒山这一“名人”的争取。本篇并附带论述了有关寒山为文殊菩萨化身、入穴自合以及相关绘画等三个问题。下篇“阐释篇”以寒山诗为中心,探讨了寒山诗的宗教情怀与审美超越。第一章分析寒山诗中的佛教诗与道教(家)诗,首先把寒山诗中的佛教诗分为佛理教化诗与内在体验诗两类进行论述,认为二者虽从基本的语言词汇到深层的内在意蕴都有显著区别,但并非互不相容,这种现象恰是诗作者佛教信仰层次性的表现,是从不同层次展现出了寒山诗创作者对于佛理的理解与体悟。其次,探讨了寒山诗中道教(家)诗所表现的隐逸与长生思想,指出寒山诗作者的隐居选择及其对自然的体察都明显受到道教(家)思想的影响,而这一部分诗也相应显示出超逸、旷达、高迈等风格。诗作者对于生命的悲剧性感受曾经促使其追求长生,但最终认识到长生不可求,开始反对外丹派的炼药求仙,但仍对内丹派的导引服气思想心存认同。从最宽泛的意义上说,寒山诗就是人类精神的宗教显现,是人类精神在探究“终极的、无限的、无条件的方面”时的深沉思考。第二章探讨了寒山诗的审美超越。社会和自然作为文学表现的两个重要内容,在寒山诗中展现出了截然不同的面貌。前者是肮脏的、恶浊的,后者则是清新的、纯洁的。诗作者对社会上的种种丑恶进行了揭露与批判,并曾设想以宗教的方式来拯救社会,但这一愿望最终无法实现。于是诗人走向了旷<WP=6>野的自然,艺术的审美成为苦难人生的节日。寒山诗中“吟到寒山句便工”的现象正是诗人与自然和谐相处、交融互动的最好体现。这种审美并与宗教信仰密切交融,审美宗教化,同时宗教亦审美化了。宗教性救赎与审美性飞越的完美融合正是寒山诗千古传诵的魅力所在。附录部分从接受学的角度考查了寒山诗在中、日、韩及美国三个不同文化圈的接受情况,指出寒山诗本身的优异与历史和时代的风云际会是造成寒山诗流传天下的重要因素。更多还原

【Abstract】 The article of Hanshan and Hanshan’s poems includes four parts, the preface, the former section,the latter section and the appendix.The preface comments on past and present situations of Hanshan’s studing,consisting of four sides,the circulating,editting and editions of Hanshan’s poems,Hanshan’s poems and Hanshan, ideas and styles of Hanshan’s poems and spreading of Hanshan’s poems and Hanshan Style. The former section of “probing” centering on legends of Hanshan , points that materials about Hanshan are essentially a process of initiating and developing of legends. Hanshan’s image developed from someone who cultivated himself according to the Tao’s doctrine to the embodiment of Manjusri Bodhisattva,and was respected as “Two Sages” with Shide who was the embodiment of Samantabhadra Bodhisattva.Later Hanshshan,Shide and Fenggan who was the embodiment of Maitreya were regarded as“Three Hermits” or “three Sages”. The story of Hanshan and Shide spreading into the folk was blending with the legend of Wanhui, and surperseded for his “God of Harmony”. During the process,characters were enriched and plot were complicated. The second chapter of the part also discusses three small problems about Hanshan.The latter section of “interpreting” centering on Hanshan’s poem, probes into their religious emotion and aesthetic transcendence. The first chapter develops that Hanshan’ poems was the religious manifestation of human’s spirit by analyzing the Buddhism poems and Taoism poems in Hanshan’s poems. The second chapter explores the society which was dirty and sinful and the nature which was clean and pure in Hanshan’s poems. The aesthetic emotion in Hanshan’s poems was merged with the religious faith and the two were mutually transforming. At the end of the section, the author raises that the prefect merge of religious saving and aesthetic transcendence is exactly the charm of Hanshan’s poem.The appendix examines the different accepting of Hanshan’s poems in China, Japan,Korea and America, indicating that the splendour and the chance provided by history and times are causes of spreading of Hanshan’s poems.更多还原