Keywords: Zen realm; Poetic realm; Zen with poetry; Zen into poetry; Both human beings and the environment have been caught; Jiang Xue.
Since Buddhism was introduced into China at the end of Han Dynasty, it has been continuously integrated into and adapted to China culture, especially Zen Buddhism, which is "the product of pure China religion" and "China's philosophy of spiritual phenomena". During the Wei and Jin Dynasties, a special group of poets and monks appeared due to the increasing exchanges between monks and scribes. Since then, a large number of Buddhist monks have emerged. Since the middle Tang Dynasty, the combination of Zen and poetics has been everywhere, and the poetic theories of Liu Zongyuan, Liu Yuxi, Jiao Ran and Si Kongtu are all related to Zen. Song dynasty added fuel to the fire. The appearance and influence of Yan Yu's poem Canglang declared the great success of the combination of Zen and poetics. The combination of Zen and poetics, for poetry, is most influenced by Zen in artistic conception and style; Zen is also influenced by poetry, such as symbolically expressing Zen and enlightenment in the form of poetry, which is both subtle and elegant.
Poetry and Zen belong to literature and religion, and their functions and tastes are obviously different. However, in the heyday of Tang and Song Dynasties, these two categories were naturally and skillfully combined, forming the appearance and harmony of Zen and poetry, with Zen in poetry and Zen in poetry. Since then, poetry beautifies Zen and Zen deepens poetry; The Zen realm is traceable and intriguing because of poetry, and the poetic realm is infinitely detached because of Zen. As Yuan Haowen said in his poem, "Poetry adds flowers to Zen guests, and Zen sharpens jade knives for poets." Jiang Xue by Liu Zongyuan is a poetic poem, which captures people and the environment. It is a rare masterpiece and has the value and significance of concrete analysis and exploration.
First, Zen realm and poetic realm
Zen is the Sanskrit transliteration abbreviation of "Zen", which literally translates as "meditation" and "thinking practice". For example, during the Han and Wei Dynasties, it was often translated as "meditation".
"Meditation" is the Zen of Zen. In Zen Buddhism, meditation is an important practice method. "It requires practitioners to rest."
Distracted thoughts, the mind focuses on a situation. By controlling one's own thoughts, one wants to keep quiet and hates life and death. Over time, one can achieve physical and mental peace and spiritual happiness.
Yue, caring for the empty and bright realm, can get rid of secular suffering and gain a great wisdom, which is called complete consciousness. "
(Jiang Shuzhuo's words) There is only Zen in Indian Buddhism, but there is no Zen. In the Tang Dynasty, China Zen was founded, which opposed Indian meditation methods and advocated seeing nature.
The theory of becoming a Buddha with a clear mind and seeing nature. In terms of practice methods, they oppose meditation, such as Huineng, a Zen master of Nanzong Sect, and advocate "epiphany" and "epiphany"
As real as nature. "Although Zen and meditation hold different views in theory and practice, they both pursue the complete liberation of the mind.
The field of free life. In the understanding of Buddhism, Zen still holds the theory of "meditation". Only when you can meditate can you be clear.
Mind becomes Buddha. Therefore, meditation is the kind of meditation achieved through meditation or epiphany and intuitive care activities.
All thoughts are extinguished, things are equal to me, Brahma and I are one, there is no difference between life and death, and there is no difference between movement and static. Everything in the universe is in a unique accessible and harmonious state.
In the case of indifference and absolute freedom. "(Jiang Shuzhuo)
The realm of poetry, that is, the realm of poetry, or artistic conception, was advocated by Wang Guowei in modern times and adopted by Zhu Guangqian. It can be said that the theory of artistic conception is an important clue in China's aesthetic history. Firstly, the concepts of "meaning" and "image" were put forward, and then the category of "image" was widely used in the Tang Dynasty. However, a breakthrough in artistic conception theory is the introduction and use of the concept of "environment", which marks the initial formation of artistic conception theory. Combined with the rich creative practice of Tang poetry, it finally formed an aesthetic category with China characteristics. The concepts of "the realm is born outside the image" and "the realm is also outside the image" were put forward in the middle Tang Dynasty, which was inseparable from the mutual reference and influence of Zen and poetry at that time. There are many realms of poetry. For example, if we divide it into twenty-four categories, there are twenty-four styles in the realm of poetry. According to Wang Guowei's Ci-Hua on Earth, there are "separation and non-separation" and "the realm with me and the realm without me". In Zhu Guangqian's view, "the realm of poetry is the fusion of interest and image." "The realm of poetry is an ideal realm, clinging to a tiny point of time and space, which is eternal and universal. It can continue to reappear in the hearts of countless people, although it reappears without falling into stale, because it can absorb fresh life from the special character and interest of each viewer at that time. The realm of poetry sees eternity in an instant, shows greatness in the dust, and contains infinity in the finite. " Therefore, the poetic realm is not only an artistic form expression, but also an artistic realm pursuit. Because of the pursuit of this realm, poetry is inspired by Zen wisdom; Because of this form of expression, Zen borrowed the convenient door of poetry.
Although Zen and poetry are quite different in function and purport, they have certain ideas in some aspects. First of all, everyone pays attention to inner intuition, and so does Yan Canglang's "Miao Wu". Meditation lies in epiphany. If you meditate blindly, you will easily fall into "reasoning obstacles" and "law enforcement", but you will lose your mind. Writing poetry is to perceive images intuitively, inspire inspiration in a crackling way, and externalize all the poet's emotions. Secondly, they all pursue "meaning" and "aiming at the taste", which is also the same purpose of Zen and poetry. The purpose of Zen is to understand the essence of the mind. Although it opens the door to convenient writing (the so-called "never write or not write"), its intention is not to write, but to see the realm outside the text; The poetic context of excellent poetry often transcends the meaning carried by poetry and presents unspeakable implications. It is seeking truth, seeing nature and gaining freedom. That is, the Zen realm and the poetic realm are integrated into one, the Zen way is often the art way, and the Zen realm often needs artistic expression, so Zen enters poetry; The realm of poetry often has Zen interest, and sometimes Zen is needed to open up the realm of poetry, so poetry accepts and embraces Zen.
As mentioned above, Zen and poetics, one is religion and the other is literature, and their ultimate goals are different. As an art, poetry should not only reach the so-called Zen realm like Zen, but also have visual expression. This is an artistic approach, and a good poem must have both. Therefore, Zen and poetry are more about the infiltration of Zen into poetry, and the absorption, reference and quotation of Zen by poetry; Zen is a convenient tool in the form of poetry. Li Zehou pointed out: "Regardless of Zhuang, Yi and Zen (or Confucianism, Taoism and Zen), the trend and peak of China's philosophy is not religion, but aesthetics. The path of China's philosophical thought is not from cognition, morality to religion, but from them to aesthetics. " For example, the combination of Zen and poetics includes Zen poems without words, Zen poems without words and Zen poems without words. However, from the aesthetic point of view, Zen poetry is not a good poem because it only has the form of poetry without the artistic conception of poetry, but for Zen, its realm seems to be higher than the latter two. After understanding the similarities and differences between Zen and poetics, let's take a look at the relationship between Zen in poetry and Zen in poetry.
Second, poetry contains Zen.
Although Indian Buddhist scriptures also have ode, they look like China's verse in form, but they are not poetic. From the translation of Buddhist scriptures into Chinese, we began to borrow Chinese.
The form of China's poems, like metaphysical poems, is "unreasonable and tasteless". Since the Tang Dynasty, all this has become remarkable because
Because poetry entered the heyday of China, more importantly, a large number of poets and monks appeared, who used poetry to express, enlighten and preach, especially
It is the prevalence of Zen that directly gave birth to the unprecedented prosperity of Zen poetry and left many famous works for future generations.
A typical example of Zen with poetry is to express the realm of Zen practice with poetry. For convenience, here's a quote from Li Zehou for a brief explanation. "Zen often says three realms. The first realm is "but how can I find his footprints among the fallen leaves piled up on the bare hillside!" " This is a description of finding the Zen ontology. The second realm is' no one in the empty mountain, flowers in the water', which describes the stage when we have broken the law but seem to have realized the Tao but failed to get it. The third realm is' the sky is eternal, and there was a wind and moon', which means that the description is eternal in an instant and becomes eternal in an instant. In time, an instant is eternity, and in space, everything is integrated, which is the highest realm of Zen. "Here, from the perspective of Zen enlightenment, from the outside to the inside, when you are not enlightened, there is no way to find it. This is still a layman's stage; When I first realized the Tao, it was "flowers floating with water". I didn't cling to Buddhism and myself, but I seemed to have a faint sadness and failed to achieve a clear and peaceful situation. But after "one enlightenment" and epiphany, it is the real enlightenment, interacting with heaven and earth, the universe, swimming outside the void, floating and being independent from the world. Poetically speaking, Zen is expressed by poetry. Poetry and Zen are interlinked, and Zen can be understood through poetry. The first sentence is "I am in the realm". People and things are indistinguishable, and you can clearly read the fallen leaves all over the mountain and the helpless embarrassed visitors. The realm is just ordinary people; The second sentence is "the realm without me", and people and things are separated, which is higher than the first realm; The last sentence is empty, empty and chaotic, and the poem between heaven and earth is the realm between heaven and earth.
Poetry contains Zen, which expresses Zen through poetry and beautifies Zen at the same time, thus adding some artistic elements, reaching the point that, as Zong Baihua said, "Zen is that China people, after contacting Buddhism, realize their inner depths and wonderfully play to the philosophical realm and artistic realm." At the same time, it also allows Zen to enter poetry unimpeded.
Third, Zen into poetry
Zen into poetry, in short, mainly includes Zen as poetry and Zen as metaphor. Specifically, it includes poetry creation psychology to poetry criticism.
About a series of poetry activities. Taking Zen as a poem is to introduce Zen into poetry creation, including Zen language, Zen allusions, Zen flavor in mountains and forests,
Zen philosophy; To compare poetry with Zen is to discuss and comment on poetry from the perspective of Zen. Specifically, it is to use Zen to reason poetry and use Zen.
Fun says poetry is fun, Zen says poetry. During the Tang and Song Dynasties, most poets were deeply influenced by Laozi and Zhuangzi, and had close contacts with Zen believers, and they were all kind.
Zen, plus "Zen and poetry, although meaning is two, and the role of the heart is one; After enlightenment, Zen is unspeakable, and poetry must support all the words.
However, it is enlightenment, and it is no different at first. "(Qian Zhongshu's words) Since Zen is unique in poetry, it is natural for poets to help Zen into poetry.
Whether Zen is a poem or a metaphor of poetry has been brilliantly discussed by predecessors. I have neither new information nor particularly new ideas, so I won't go into details here. This paper briefly discusses what new changes and special values and significance the poet has brought to poetry by taking Zen as his poem. The first is the theme of mountains and forests. Natural landscape is an important part of China's poetry, and most of the natural landscapes in Tang poetry are landscape poems, which are inseparable from Zen. It stands to reason that the rise of landscape consciousness began with Taoism in Laozi and Zhuangzi, but at that time, the scribes talked about metaphysics and talked about it in succession. But the actual situation is that "Laozi and Zhuangzi are free from customs, and mountains and rivers are graceful." Zen combines the thoughts of Laozi and Zhuangzi, integrates Zen into poetry, and writes poetry with Zen care, thus promoting the independence and prosperity of landscape poetry. Secondly, the popularization of poetic language. This is mainly due to the language style formed by the poet's large number of quotations from Zen Buddhism. There seems to be a contradiction, that is, why his poems are so good, but China chose the popular language style. Actually, this question is not difficult to answer. On the one hand, it shows that Zen had a wide and far-reaching influence at that time, especially the literati. On the other hand, it is regarded as a custom for parallel prose in the Six Dynasties to pursue gorgeous and splendid literary brocade. According to the "defamiliarization" principle of Russian formalism, it should be a trend at that time to reveal profound Zen in plain and popular language, and then it will be a cultural habit of poetry. Finally, the philosophical trend of poetry development. This feature is the most obvious, which leads Zen to poetry, and the poems and quotations in Zen are philosophical statements. In this process, the poet did not "completely accept" it, but combined it with China's traditional poetry, making Zen poetic and forming a popular "poem of reason and interest" in the Song Dynasty. It can be said that since the combination of poetry and Zen, it has never been separated, and it has been hand in hand until today. There is Zen in poetry, and there is poetry in Zen.
Fourth, both human beings and the environment have been caught: "Jiang Xue"
Above, we generally analyzed some relationships between poetry and Zen, between poets and Zen monks, and between poetic realm and Zen realm, but basically did not give specific examples. In this respect, we mainly consider that poetry is a complete poem, and its connection is interrelated, so we decided to take Liu Zongyuan's Jiang Xue as an example for comprehensive analysis. Jiang Xue, a five-character quatrain, is one of Liu Zongyuan's representative works. This poem was written after Liu Zongyuan was demoted to Yongzhou, and the political depression could not continue. The ambition of "helping the world at the same time" was out of reach, so he wandered with nature and mountains and rivers in Buddhist temples all day. On the one hand, he was drunk on the mountain, and on the other hand, he used Buddhism to disperse him. He said: "I have been a good Buddha since I was a child, and I have been seeking his way for 30 years. Few speakers in the world can understand what he says. In Lingling, I am unique. " Jiang Xue is working at this time. This poem has always been loved by people and is still a masterpiece of the poet. Su Dongpo said: "It is almost impossible to be given by heaven." Fan commented that "there were five words and four sentences in the Tang Dynasty, but Liu Zihou had a poem called Jiang Xue." Huang said, "It's just for this cross. I have been painting endlessly so far, and the future will end with heaven and earth. "
1. Enjoy Jiang Xue.
There are no birds flying over those mountains, and there are no traces of people in those paths. A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice. -Liu Zongyuan
The extinction of birds and people is not only a state, but also a process. The point of the word is not
With it, the meaning of explanation is different. Either way, the atmosphere of silence is overwhelming, one horizontal and one vertical, and the camera moves from far to near, from casual viewing to determining the focus. Lonely boat bearing the state of silence, the realm of thinking; Dai Li, start the finishing touch. Is it raining? The word "fishing alone" shows that the boat is lonely, people are lonely, and one person and one boat are doubly lonely; A snow word tells the answer, which turned out to be heavy snow; One person, one boat, one Jiang Xue, how can it not be chilling? A noble spirit that does not go with the flow pours out. Is it lonely, lofty, barren, unwilling, helpless or lofty? A river is cold and snowy, and fish can't be caught. What should I do? Peace of mind is my hometown. If there is no fish, fish for snow, and you can fish for a pure pole.
A short poem also represents the inner world of a poet. What spirit did Liu Zongyuan's poems show and what realm did he pursue? There are different opinions, but as summarized by Lu, there are four kinds: "one is lofty and aloof, the other is Buddhism, the third is political criticism, and the fourth is newspaper reading." In my opinion, the latter two are not credible. Compared with the political environment at that time, political criticism seemed far-fetched. Eight Chapters of Yongzhou is also a work of the same period. How can it not be critical politics? And there is no direct evidence to prove it in this poem; I want to quote that this is obviously influenced by Jiang Taigong's fishing allusions. He thinks that "everyone is drunk, I wake up alone" and hopes to re-use it like Jiang Taigong. But careful analysis is not appropriate. Since it is not enough to innovate on your own, besides, Liu Zongyuan was in his position before, why "put all your eggs in one basket"? This is just a sideline, and the chances are slim. Gong Liu is not the kind of person who is unrealistic. The first two have their own reasons, but they are all one-sided. Liu Zongyuan's thought view is "Buddhism is interpreted by Confucianism, and Confucianism, Buddhism, Taoism and righteousness are integrated", so his poems are bound to be closely related to this.
2. The artistic conception beauty and Zen view of poetry.
As mentioned earlier, the realm of poetry and Zen are interlinked, and Liu Zongyuan's Jiang Xue is a typical example.
So we don't talk about artistic beauty and Zen alone, but put them together. That's what this poem means.
Create a quiet and ethereal image in the world, still in motion, still in motion, in the harmony and unity of contradictions; This poem also
Borrowed the metaphor of Buddhism "bird metaphor" to express Zen in a silent state; This poem is a lonely and empty Zen.
Therefore, the environment is often used to explain the state of "people and the environment are caught".
(1) silence, ethereal beauty.
"There are no birds in a hundred mountains, and there are no footprints in a thousand paths." These two sentences use the method of contrast, moving in silence and moving in silence.
As we mentioned above, there are two ways to interpret it. Now it seems that we should pay more attention to the second explanation, which is a complete process from occurrence to completion. It was quiet after the move, the birds flew and the people left, and then everything returned to calm. Only an old man is fishing alone, which just sets off the image of fisherman's pride, independence and self-purification. Expressing emotions through scenery is a common technique in poetry, but the writer here is not only a self-portrait of the poet's situation and mentality, but also shows a "Faust spirit" like Goethe's Faust, while here he insists on silence and meditation and pursues independence from life.
Birds fly away, people disappear, showing an empty silence. There are also Qianshan and Wanjing, which are lined up a lot. "Emptiness means accepting various realms", and this ethereal realm is not only the ethereal realm of things, but also the ethereal heart of poets. Emptiness is a basic concept of Zen. If the mind gets rid of obstacles and concerns, it has broken the law and self-discipline and reached the realm of physical and mental detachment. Therefore, "get rid of the fetters of objective conditions and subjective factors, and show an unspeakable Zen joy."
② Metaphor of birds
The poem "Jiang Xue" is a landscape poem with secluded realm, far-reaching theme and cold intention, but it is not.
Generally speaking, landscape poetry is a Zen poem with Buddha and bird as metaphor. In front of us, we mentioned the relationship among Zen poetry, Zen poetry and Zen poetry, and pointed out that Zen poetry is the highest artistic achievement of the combination of these three kinds of poetry and Zen, which has both Zen meaning and poetic interest, and Jiang Xue is an outstanding Zen poem, conveying the realm of his poetry and Zen in plain language. This state of meditation and silence is intrinsically related to Buddhist metaphors.
For example, "believe this more than that, send shallow training to deep", thus helping believers understand abstract and difficult Buddhism. Bird is a common metaphor in many Buddhist scriptures. Zhang listed the origin of bird in Zen Aesthetics. "One Plus Agama" Volume 15 "Tall Building":' Or sit cross-legged, full of emptiness, like a bird flying in the air, without obstacles. "Nirvana Sutra:' If a bird flies in the air, it cannot be found.' Hua Yan Jing:' Knowing everything is silent, like a bird flying in the air without a trace.' It can be seen that the so-called "bird metaphor" is a metaphor for birds, and the origin and extinction are described by birds flying high and dying without a trace. All methods will eventually die.
Let's look back at the poem Jiang Xue. "Birds Fly Away" is the embodiment of birds flying without a trace. Render an empty atmosphere with the next sentence. The origin is doomed, and it does not stay (live) in the heart. It is easy to understand why the fisherman still fishes in the river alone because the snow is very cold. Now that his heart has reached a state of peace, how can he ignore the natural changes of the outside world and adopt it? Here, we can extend to look at the structure of this poem from the perspective of "inheritance". The layout of the second sentence does not inherit the meaning of the first sentence, but adopts the way of flat connection, and the third sentence has to accept the general idea of inheriting the turning point. I think this method has two beauties: first, it presents a series of pictures, that is, it is not as compact as ordinary poems, but presented to everyone in the form of images, followed by a silent, ethereal and cold artistic image, as wonderful as "painting in poetry"; First, from mirror image to epiphany, just like Zen epiphany in intuitive thinking, it leads readers from the realm of artistic conception to the realm of Zen. Buddhists say that "bamboo is a dharma body; The gloomy yellow flowers are nothing more than prajna paramita, and so is the metaphor of birds, which achieves a silent Zen realm through metaphor.
(3) Human and environmental capture.
"Taking all the people's places" is one of the four material slips in Buddhism, and the so-called "four material slips" are four ways for Lin Jizong to guide scholars to realize Tao.
A concept of Buddhism refers to the realm of Buddhism, including "taking people without taking the realm", "taking the realm without taking people", "taking the realm without taking people" and "human realm"
Don't take it away. "Man" is a subjective existence, and "environment" is an objective existence. Lin Ji founded "Four Bamboo Slips" to get rid of me,
Law and its persistence. In the application of Buddhism, "four material slips" are the same as "seeing mountains is mountains, seeing water is water" and "seeing mountains is not mountains, seeing water is not"
Putting the three realms of "water" and "seeing mountains or mountains, seeing water or water" together, there is a relationship between "taking land without taking people" and "taking people without taking land"
"Looking at mountains is mountains, looking at water is water" corresponds, and the other two correspond.
The poem "No one in the empty mountain, flowers bloom" mentions the realm of paying equal attention to people and the environment, that is, getting rid of enforcing the law. This poem by Liu Zongyuan is also a typical example of getting rid of self-enforcement and law enforcement and grasping people and the environment. It is easy to understand the meaning of taking everything from one's own environment, but in Buddhism, this realm is not the highest, so why is this poem often quoted? I think this reflects Liu Zongyuan's unique aesthetic sense. This is a poem, an artistic expression, which not only needs to be understood as Buddhism, but also needs to be written, which is what Wang Guowei called "internal and external cultivation", which increases the difficulty to some extent. More importantly, although Liu Zongyuan was a good Buddha since he was a child, and he was an advocate of "Ming Dow as a scholar" in Confucianism, his intention of saving the world and being independent was often contradictory, but he finally advanced in the contradiction, making it tend to be harmonious rather than abandoning one end. With this in mind, let's take a look at the poem Jiang Xue. We have the concept of freedom and the realm of Zen, but we still don't change our minds. Fishing Alone in a Boat shows a lonely and cold state, a state in which both human beings and the environment are caught. Here, it is not so much that Liu Zongyuan can't realize the realm of "seeing mountains or mountains, seeing water or water" and "not taking people and the environment", but rather that Gong Liu's personal persistence, on the one hand, truly shows his inner contradictions, on the other hand, shows his memory and persistence in the world, and he is neither sad nor world-weary.
The combination of poetry and Zen is not only the luck of the poet, but also the luck of Zen, which opens up a broad road for the development of China's poetry, and at the same time binds the literati and Zen together tightly. When they reach the realm of spiritual practice, both of them can "be kind without Yoga Yu", as the poem "Jiang Xue" shows. Therefore, "Zen without Zen is poetry, and poetry without Zen is like Zen."