越南李陳禪詩(shī)之研究

1、摘要 上海師范大學(xué)博士學(xué)位論文I越南李陳禪詩(shī)之研究 越南李陳禪詩(shī)之研究摘要 摘要本文針對(duì)越南李陳的禪師、帝王、文人三大創(chuàng)作群體的禪詩(shī)，就其內(nèi)容及功能共分為 15 類進(jìn)而探討詩(shī)的特色。李陳兩朝禪詩(shī)的搜集范圍主要以《禪苑集英》與《李陳詩(shī)文》為依據(jù)。本文的核心問(wèn)題是越南李陳時(shí)期禪詩(shī)中貫穿的中心思想，而以不同創(chuàng)作者禪詩(shī)的各別內(nèi)容進(jìn)行分類，以其表現(xiàn)手法為切入點(diǎn)。撰寫過(guò)程中，本文從佛教史與文學(xué)史兩個(gè)層面為出發(fā)點(diǎn)，先從佛教禪宗的源流，進(jìn)而就偈、詩(shī)、禪

2、詩(shī)的融入與結(jié)合，概括出李陳禪詩(shī)的內(nèi)容與藝術(shù)表達(dá)手法。探討李陳禪詩(shī)中的中心思想及其社會(huì)背景、文學(xué)地位與價(jià)值，進(jìn)而說(shuō)明與唐禪詩(shī)的關(guān)系。通過(guò)本文的研究，提出五點(diǎn)看法：1、每位禪師一生平均只流傳兩首詩(shī)：詩(shī)追溯其本源是由“情動(dòng)”于心而形之于外的詩(shī)詞；而“動(dòng)”之前狀態(tài)是“靜” ，故“靜”乃音聲、詩(shī)歌等發(fā)源之地。自此可以推論，若一人達(dá)到清靜的程度是不會(huì)創(chuàng)作詩(shī)的。如果創(chuàng)作，是為了使人得其清平之心、性情之正。考察李陳時(shí)期的禪師、帝王，得知一位禪師的一生平

3、均只創(chuàng)作兩首，一首在生平另一首在即將臨終時(shí)完成。這個(gè)發(fā)現(xiàn)與中國(guó)唐代的禪師約有 98%的禪師平均只流傳兩首詩(shī)偈是相當(dāng)一致的。2、只有兩種創(chuàng)作群體即“開(kāi)悟者”與“未開(kāi)悟者” ：本文由禪詩(shī)的禪師、帝王、文人三大創(chuàng)作群體中切入，只是初步探討的方式。進(jìn)而從詩(shī)中的內(nèi)容指出只有兩種創(chuàng)作者：開(kāi)悟者與未開(kāi)悟者——對(duì)生活的“無(wú)常、苦、無(wú)我”的體會(huì)而感慨體悟者。其中， “無(wú)我”——沒(méi)有一個(gè)真實(shí)的自我，就是“空性”另一說(shuō)法，亦稱之為“佛性” ，而六祖慧能更以“

4、無(wú)念為宗、無(wú)相為體、無(wú)住為本”為禪宗乃進(jìn)一步在鋪陳此理。正因?yàn)樯畹臒o(wú)常、苦與無(wú)我，故出仕與歸隱為人從來(lái)猶豫的選擇。如果“山林”為仕與隱的界限分明的選擇，那“愛(ài)欲”是凡夫與圣者、菩薩、佛的分別點(diǎn)。 “愛(ài)欲”與“無(wú)常、苦、無(wú)我”為本文結(jié)論。3、 “心如畫工師” ： 每一首詩(shī)不外乎發(fā)源自人的內(nèi)心所構(gòu)思進(jìn)而創(chuàng)作出來(lái)。 其中，一首詩(shī)的結(jié)構(gòu)、表現(xiàn)手法以及每一物象符號(hào)的意象，皆是詩(shī)人的內(nèi)心世界轉(zhuǎn)化而成，此乃所謂“心如畫工師，畫種種五蘊(yùn)。一切世間中，

5、莫不從心造” 。4、沒(méi)有李陳禪詩(shī)與唐禪詩(shī)之間的界限： “一首有意義及聽(tīng)后能使人心得平靜的詩(shī)”都可以稱之為禪詩(shī)。本文在探討“越南李陳禪詩(shī)”與“中國(guó)唐禪詩(shī)”的關(guān)聯(lián)性時(shí)， 發(fā)現(xiàn)這兩個(gè)空間與時(shí)間的范圍逐漸模糊了， 每當(dāng)我們體會(huì)認(rèn)出： 如果 “禪”的目的是扭轉(zhuǎn)人心，使其回歸純真本性，則任何時(shí)代與地域空間、任何人種、任何身份所創(chuàng)作的詩(shī)，都可以泛稱之為“禪詩(shī)” 。這種情況下“禪詩(shī)”與孔子所界定Abstract Shanghai Normal Univ

6、ersity Doctor of PhilosophyIIIStudy of Vietnamese Li (Ly) and Chen(Tran) Dynasties’ ZenPoetriesAbstractThis dissertation aims for three kinds of authors of Zen poems during VietnameseLy and Tran’s dynasties, that are Zen

7、 Master, Emperor, and Literatus. According tosubstance and essence of poetry, they are divided into 15th kinds of verses within amain collection from the Vietnamese poetries, Thi?n Uy?n T?p Anh ( A quintessencecollection

8、 from Zen garden) and Th? v?n Lý & Tr?n (Ly and Tran’s literature andpoetry).This paper is centered around the spirit and essence of Zen verses by a creativetopic and as an initiative art of research and study.

9、The process is begun fromBuddhism history and Literature chronicle as a basic step. Starting from the origin ofZen Buddhism and then is combined and united in harmony between koans, poetries,and zen verses following with

10、 a concept of poem’s contents and art techniques. In short,the main thought of Zen verses with social scene, valuable literature and relationshipwith Tang Dynasty’s Zen poetry.After analyzing, the conclusion of this pape

11、r is summarized into 5 following mainpoints:1.Each Zen master composes about two Zen poems: Back to the current source ofverse from “a disturbed heart/moving mind” to becoming poems. But before that time,‘moving mind/dis

12、turbed heart’ was a retreat of calm mind. Therefore, the calm mind isthe origin of music and poetry. From this point, we can deduce if ones are in a peacefulmind, motionless, they would not compose any verses. If they do

13、 then their poems areonly for enlighten others. From the study and examination the poems of those ZenMasters and Emperors during this period showed that, each sage composed about 2essential poems, one during living and l

14、ast one immediately prior their death. This issimilar with Tang’s period with 98% Zen masters only composed 2 poems per their lifetime.2.There is only two objects of composition, that are the “awakening” and“unenlightene