Key words: Tang vernacular poetry school; Wang Fanzhi; Hanshan; Pang Jushi; Buddhist literature
Poetry in the Tang Dynasty is the pinnacle of China's poetry art, with great poets such as Li Bai and Du Fu, and colorful poetry schools, such as pastoral poetry school, landscape poetry school, frontier poetry school, ranger poetry school and new Yuefu movement. Therefore, it has received special attention and full research from academic circles. However, almost all researchers have never noticed that there is a school of vernacular poetry besides the mainstream poetry in the Tang Dynasty. Not all vernacular poems belong to the school of vernacular poetry. This school of poetry has its own origin and the process of its formation and development. They share the same artistic and ideological traditions, and have a large number of poets represented by Wang Fanzhi and Hanshan. Ideologically, it is basically a Buddhist poetry school, and its deep connection with Buddhism forms the basic characteristics of this poetry school. Different from other schools of poetry, it is not a faction within literati poetry, and it is on an equal footing with literati poetry, and * * * depicts the magnificent panorama of poetry in the prosperous Tang Dynasty.
Wang Fanzhi, a vernacular poet, is still a mystery in the history of China literature. Feng (Yan Zixiu) at the end of the Tang Dynasty, "Gui Yuan Cong Tan? Historical issues "cloud:
Wang Fanzhi is also from Liyang, Weizhou. There is Wang Dezu fifteen miles east of Liyang. In the Sui Dynasty, there was a tree as big as a bucket at home. Three years later, it rotted. When Dezu saw it, he skinned it. Then he saw a baby. He was born and adopted. At the age of seven, he could speak and asked, "Who raised me?" And ask for names. De Zuju told the truth: "Born from a tree, it is called Brahma (later changed to ambition); My parents are educated, but my surname is Wang Ye. " Poetry satirizes people, which is meaningful and a manifestation of bodhisattva.
This is obviously a myth and cannot be treated as a faithful history. It just adds a melancholy color to Wang Fanzhi. But we don't have to deny his existence. In his mythology, there are also some concrete and credible contents. "Longan talk? According to historical legend, his strange life was "when the Sui Dynasty was born", and Volume 82 of Taiping Guangji quoted Shi Chuan (Yi Shi in Ming Dynasty) as "when Emperor Wen of Sui Dynasty was born". Regarding his native place, Gui Yuan Cong Tan and Tai Ping Guang Ji all said that he was from Liyang, Weizhou. In Dunhuang suicide note No.4978, Wang Dao claimed to be "the grandson of Wang Fanzhi, a scholar in Liyang, East Shuofang". And Fan Gang's Friends of Cloud Creek says that Wang Fanzhi was born in a tree in the western regions, which is probably not credible. Wang Fanzhi was very famous among the people in the Tang Dynasty, so the myth about him became popular. Some people used his name (even claiming to be his grandson) to promote themselves. He is regarded as a "Bodhisattva" ("Gui Yuan Cong Tan"), and his poems are used as teaching materials for monks and nuns to achieve enlightenment. For example, "Yunxi Youyi" contains master Xuan Lang's "If you are ignorant, if you want to be enlightened, you must recite Wang Fanzhi's poems". However, Wang Fanzhi's poems circulated among the people at that time have long since been lost, and Wang Fanzhi's name has also been forgotten by people. It was not until the first year of the 20th century, when the Dunhuang Cave of Scriptures was opened and more than 30 volumes of Wang Fanzhi's poems were discovered, that his name was rewritten in the history of China literature.
Wang Fanzhi's Poems is actually a complicated anthology. Xiang and Chu compiled 390 poems by Wang Fanzhi according to the poems written by Wang Fanzhi found in the Dunhuang Tibetan Sutra Cave, as well as the lost poems preserved in the notes of Tang and Song poetry talks and Zen quotations. These poems are divided into several systems with different sources, among which three volumes of Wang Fanzhi's poems are Buddhist poems, but they are rich in content and involve social life. Wang Fanzhi's 1 10 poems written by Fallon are basically Buddhist poems. Wang Fanzhi's poems are actually popular children's books. The content of Wang Fanzhi's Sanqu is quite complicated. In fact, the so-called "Wang Fanzhi's Poetry" is not a temporary work of one person, but the sum of the works of many unknown vernacular poets in a long historical period from the early Tang Dynasty (and earlier) to the early Song Dynasty. As Wang Fanzhi became an outstanding representative of vernacular poets, these vernacular poems from different sources, like rivers flowing into the sea, were attributed to Wang Fanzhi. Among them, three volumes of Wang Fanzhi's Poems were produced in the early Tang Dynasty, especially during the reign of Wu Zetian. Among all Wang Fanzhi's poems, they are the earliest, the largest in number, the most realistic in content and the most distinctive in artistic form, so they have the highest value and can best represent the achievements of Wang Fanzhi's poems. These vernacular poems written by many people, on the whole, not only show the tendency of Buddhism, but also have the same artistic style. China literati's poems, represented by the poems in the prosperous Tang Dynasty, have formed a unique and elegant artistic tradition. It is full of rich and moving lyrical atmosphere, full of picturesque scenery description, and is good at combining the two to form an artistic realm-meaningful artistic conception and endless aftertaste. However, Wang Fanzhi's poems show a completely different look. It is not good at lyricism, nor does it miss the scenery, nor does it intend to create any "artistic conception". It uses the lively spoken language of the people to write, and mainly uses the methods of painting, narration and discussion to reproduce and evaluate life. This formed the simple and lively features of Wang Fanzhi's poems. Under the background that the literature in the early Tang Dynasty followed the writing style of the Six Dynasties, we found that a large number of vernacular poems named Wang Fanzhi Poems were being compiled and popularized by the people, which surprised us, but it also showed the prosperity of early vernacular poems.
Hanshan, another representative poet of Vernacular Poetry School, is another mystery in the history of China literature. We don't know his surname, because he has lived in Hanshan (also known as Han Yan) in Tiantai Mountain for a long time, so he calls himself Hanshan or Hanshanzi. There have been two theories about his time. There is a saying that Hanshan was born in the early Tang Dynasty. Hanshanzi's poems are in order before, with the signature of "Chao Dafu invited Taizhou military attache to observe the secretariat, Zhu Guo gave fish bags, which was written by Qiu Yin". In the preface, he told himself that he was appointed as Taizhou secretariat. Before he left, he met a rich Zen master who cured his headache and told him to see Hanshan. When he found it, he was called Hanshan Manjusri and Hanshan Manjusri. Three days after he took office, Lu Qiuyin went to Hanshan and found it in Xiaoguo Temple. Two people rushed out of the temple, Hanshan entered the cave, and his cave was closed; Nothing was found. Lu Qiuyin asked monks and Taoists to find out their past behavior. Hanshan alone wrote more than 300 poems on bamboo stone walls and village walls, and collected poems on the walls of the land hall into volumes. This is obviously another very magical story. Because the preface to Lu Qiu's songs has a great influence for a long time, people who have been talking about Hanshan's life experience have always regarded Hanshan as a person in the early Tang Dynasty. Yu Jiaxi, a close friend, began to research the Preface to Surnames as a forgery with detailed information (see Volume 20 of Four Treasures of the Study Certificate). However, although the Preface to the Taishi is a false statement, there should be some real elements in it, perhaps from the legend about Hanshan. As a cloud:
People who don't know who it is have seen it since ancient times. They are all called poor and crazy. He lived in seclusion in Tiantai, 70 miles west of Tangxing County, and was named Hanyan. Every time I go back to our country's Xiaoguo Temple, I know that the canteen usually uses bamboo tubes to store leftovers. Hanshan came and left. Or walking along the long corridor, a person shouting happy, laughing, being caught and scolded by the monk, standing in the palm of his hand, laughing for a long time. And he looks like a poor child, with a withered face, a breath of words, well-founded, thoughtful and hidden situation. Anyway, this hole should be Xuan Mo. Birch bark is the crown, cloth fur is the ruin, and clogs are on the ground. This is the reason why people hide, the same chemical. Or sing in the corridor, just say duh, duh, duh, reincarnation. Or singing and laughing at the village villa and cowherd, or rebellious or obedient, enjoying themselves, not for philosophers.
The image of Hanshan, a poor and wild place, was accepted and fixed by later generations.
Another view is that Hanshan was born in the mid-Tang Dynasty. Taiping Guangji (Volume 55) and Hanshanzi quoted Xian Shi Zhuan Yi as saying:
Hanshanzi, whose name is unknown, lives in seclusion in Cuiping Mountain, Tiantai, Dali. Its mountains are deep, and it is also called cold rock when there is snow in summer, because it is called cold mountain. Good poetry, every sentence, needs to be written on the stone between trees, and people with good deeds will use it to record it. More than 300 poems, either describing secluded and prosperous mountains or teasing tenses, can alert the public. Tongbai was collected from the Tongbai Kingdom, which is divided into three volumes and exists in the world.
Nowadays, many people who study Hanshan infer the age of Hanshan's life from this, but the specific age is different.
Although the specific events of Hanshan's life experience are unknown, his life experience can be roughly inferred from his poems. Hanshan was a frustrated literati in his early years, but later he broke away from the usual life track of literati and became alienated, eventually becoming the isolated and otherworldly Buddhist poet in people's minds. He was educated by Confucianism since childhood, once approached Taoism, and finally converted to Buddhism. He once lived a rural life of Tao Yuanming's style in the countryside, and finally chose to live alone in cold rocks and abandon the world. He has lived among the people for a long time, and sometimes he pretends to be the mentor of the people, which makes some of his poems have the folk color of Wang Fanzhi's poems. But he is a scholar after all, and his poems are richer in content and more diverse in style. The impermanence of life revealed in his lyric poems, the compassion shown in his satirical poems and the Zen state achieved in his seclusion poems in the mountains all reflect the spirit of Buddhism. Hanshan's poetry has multiple personalities of folk poetry, literati poetry and Buddhist poetry, and it is the most important achievement of Buddhist thought in China's poetry circle.
Hanshan's poems had no social influence at that time, but were circulated in the Zen forest. Later ignored, Hanshan poetry has never had a place in the history of China literature. However, in foreign countries, Hanshan poetry has a very prominent position. In the past hundred years, Hanshan poetry has been highly respected in Japan. In the 1950s and 1960s, Hanshan's poems even crossed the ocean and were idolized by a generation of depressed young Americans. Hanshan's poems have been neglected for a long time in China and eventually became popular in the world, which shows that the extraordinary charm of Hanshan's poems needs further understanding by Chinese people.
Hanshan is basically a Zen poet. In fact, since Huineng founded Nanzong Zen, Zen poetry has become the mainstream of vernacular poetry. Although Zen advocates "not writing", it is actually "not writing". Writing poems is one of the most basic means for them to express enlightenment and enlightenment, and it is also one of the most commendable traditions of Zen. Huineng won five ancestral clothes because of a poem "Bodhi without trees", which became an epoch-making story in the history of Buddhism. There are also some poems interspersed in the Tanjing. Many excellent poems of Huineng's disciples and re-disciples have been handed down from generation to generation, which have become important documents in the history of Zen, such as Song of Proverbs by Xuanjue and Biography of Wugeng by Shenhui. Since then, writing poetry seems to be one of the basic skills of a successful Zen master. In almost every Zen language, we will see poetry more or less. Most of these poems come from the meditation practitioners' hearts, which are their experience of practicing, and expressions of fear and joy. With vivid spoken language and lively forms, they embody diverse personalities and endless creative spirit. They greatly enriched the content of Zen history, making the whole history of Zen no longer abstract and boring, but colorful and beautiful. Not only that, today, with the unprecedented prosperity of the poetry circle in the prosperous Tang Dynasty, they have also become a school with different personalities.
Just as a group of grandfathers emerged in the history of Zen, so did a group of singing masters. In many cases, the founder of Zen is the lead singer. Song Shizisheng and you have compiled four volumes of Ode to Zen Ancestors, and selected the representative poems and other works of Dade, the founder of all previous dynasties. Among these masters, in addition to Hanshan, we might as well take Pang Jushi as the representative to investigate.
Pang Jushi is a semi-mysterious figure in the history of China literature. He is another Buddhist legend after Wang Fanzhi and Hanshan. "Ancestral Hall Collection" Volume 15 Cloud:
Pang Jushi, Master of Dark Horse. The layman is from Hengyang, so he asked Master Ma, "Who are the people who don't associate with Wanfa?" Ma: "The layman sucks up the Xijiang River in one gulp. I'll speak for you." When the layman realized this, he went to the library to borrow a pen and inkstone and wrote a poem saying, "Ten parties will meet at the same time, and each learns nothing. Here, choose the Buddha to return empty. " But he stayed in the company for a year or two, and still wandered like an outsider like a Confucian, doing things with an open mind, being really interesting and outstanding in the world, being a metaphysical Confucian and being a bodhisattva at home. At first I lived in Xiangyang Dongyan, and later I lived in a creek hut. I only helped one woman. Make bamboo fences and send them to the women's market every day. In my life, I sang more than 300 songs, which are widely used in the world. They all use words to express truth and sentences to explain mystery, which is the pearl of Confucianism and the treasure of flow.
Pang Jushi's surname is Pang Mingyun, and "Confucianism is the industry of the world" (Volume 8 of Deng Chuanlu in Jingdezhen). As a layman, he won a lofty position and wide admiration in the jungle. The photos of him and his wife, Pang Po, his huge son and his daughter have also become models of Zen families, and they have been praised by later generations. Some of Pang Jushi's poems and his family deeds have also become famous cases in the history of Zen, and have been repeatedly quoted and sung by practitioners. His deeds are widely circulated and become the subject of literati singing and folk opera adaptation. But Pang Jushi's deeds are really legendary. Ximing Temple's Preface to Pang Jushi's Quotations says that he "drowned in You Xiang, Dongting, with tens of thousands of treasures in a boat during the Tang Zhenyuan period, and he was the only one in the story industry." This story of Shenbao is naturally an excellent material for novels and operas, and the Yuan drama Pang Jushi's Wrong Debt in the Afterlife is also extended from it. As for Pang Jushi's death, it is a serious case-solving in the history of Zen. "Jingdezhen Deng Chuanlu" Volume 8:
The layman will enter and disappear, let the female spirit shine in the morning and evening, and report at noon. Female newspaper: "The sun is already in the middle, but there is erosion." When the layman went out to watch, he had an epiphany, boarded his father and sat down with his hands crossed. The layman smiled and said, "My daughter is quick." So it was extended by seven days. When the state shepherd asked the public about the disease, the layman said, "I hope everything is empty, but be careful not to actually have nothing." If you live well, the world will be affected. "Say that finish, the pillow is knee deep. He left his life to burn and abandon the rivers and lakes, mourning in vain, saying that Pang Jushi's Zen master had a reputation.
It can be said that at the last moment of their lives, Pang Jushi's father and daughter struggled with death, and the mental photos finally surpassed Nai's father, so that Pang Jushi also sighed and said, "Daughter is quick." However, risking his life, the price of this victory is really tragic, so it is even more shocking, and it can be said that it has reached the perfect state of religion. Secular people naturally have reservations about its authenticity. Legend of Jingdezhen Lantern says, "Pang Jushi, the Zen master's name is Vimalakīrti". In fact, Pang Jushi and his Buddhists are very similar to Vimalakīrti, Wu Zang, Zi Shan and Yue Nv in Buddhist scriptures, and seem to have copied them from the latter. So Chen Yinque said in the postscript of the Dunhuang version of Manjusri Romance. "So the story of imitating Pang Jushi was put forward. However, Pang Jushi's story expresses not only Indian philosophy, but the lively Zen concept of Middle Earth, which has been materialized into Pang Jushi's life and family, recognized by the majority of monks and customs, and has strong religious vitality. As for Pang Jushi in real life, it is still a mystery.
Volume 8 of Legend of Jingdezhen Lights says that Pang Jushi has more than 300 poems. Today, there are three volumes of Quotations of Pang Jushi, of which the middle and lower volumes are poems, with more than 90 poems/kloc-0, and there are about 204 poems * * (according to Dr. Tan Wei's thesis "Research on Pang Jushi"). First, Wang Fanzhi's poems are richer in content. In addition to Buddhist themes, there are a large number of poems describing human feelings and the world, and Pang Jushi's poems are basically limited to Buddhism. Second, although Wang Fanzhi's poems are full of Buddhism, they basically do not show the Zen thought since Huineng. This is because the most representative three-volume Wang Fanzhi's poems were generally produced in the early Tang Dynasty, when Zen Nanzong was not popular. Pang Jushi is a representative figure of Zen Buddhism, and his poetry is also a model of Zen Buddhism, and every word shows the spirit of Zen Buddhism. He has a cloud: "There is no difference in everyday things, but I am self-harmonious. Head is not an option, don't be good everywhere. Zhu Xi, it is the number, and Akiyama is the first. The magical power is also wonderful, carrying water and chopping wood. " For pure meditators, everything in daily life is Zen, and every word is Zen.
Compared with Hanshan's poems, Pang Jushi's poems lack the richness and swaying of the latter in artistic style and ideological content. There is a fusion of vulgarity and vulgarity in Hanshan's poems, similar to those of Wang Fanzhi and Pang Jushi. The profound and implicit realm in Hanshan's poems makes Wang Fanzhi's poems and Pang Jushi's poems seem relatively naive. Both Hanshan's poems and Pang Jushi's poems show the spirit of Zen, but the ways of expression are quite different. In fact, the fusion of Hanshan's poems still retains the temperament of literati, but it surpasses the temperament of literati. The cold rocks in his works are extraordinary, pure and quiet, and become the embodiment of Zen, purifying people's hearts. Hanshan used the artistic conception of "Zen" created by himself to comprehend readers and inspire people. Pang Jushi, on the other hand, used arguments to promote Zen and educate all beings. There are naturally high and low levels, but as far as poetic reasoning is concerned, Pang Jushi's poems are completely handy and arbitrary, which enriches the means of expression of China's poems.
The school of vernacular poetry in Tang Dynasty originated from Buddhist poetry in the Southern and Northern Dynasties. Generally speaking, the introduction and spread of Buddhism promoted the development trend of spoken and nearly spoken languages in China. During the Northern and Southern Dynasties, some monks and Buddhists began to write poems in this language close to spoken language, such as Fu Dashi, Bao Zhi, Wu Ming and Wei. Let's take Wu Ming for example. There is a poem in the three volumes of Wang Fanzhi's Poems (Dunhuang manuscripts Bo 38 14): "Not long after death, not long after. The new grave shadows the old grave and continues like a fish scale. The autumn festival in Yiling is far away, and several springs have passed. Forever, like today, a kind of dust. You know, when you see dirt, you get old. Frequently □ (open) accumulated bones and buried me as a pit. " In fact, this poem is adapted from the poem "Five Saints" of the Northern Zhou Dynasty. For the poem about death, see Volume 30 of Hong Guangming's Collection: "Go for a long farewell first, then a long kiss. The new grave will be buried in the old grave, which is like a fish scale. Maoling who distinguishes Han, Lishan who knows Qin. Millennium and yesterday, one turned to dust. We must understand the soil of this world, or the people of the past. How can I take his bones and bury me again? " By comparison, we can see that Wang Fanzhi's poem is a rewriting of the poem explaining the death of a famous poet, and the second sentence "soon after" loses its rhyme, so it should also be regarded as "the famous poet died soon". According to the seven-year edition of The Biography of Shaman Zhou Weibin's Interpretation of His Death, it is recorded that his common surname is Zongshi, a native of Nanjun, and his real name is Que. Hereditary clothes are called aristocratic families. He served Emperor Liang Yuan with deep courtesy, and there are new articles, which are described by the emperor. His creation at this time naturally belongs to the category of mobile literature in the Southern Dynasties. He experienced the Hou Jing Rebellion, and the country was ruined. After escaping into an empty door, his later religious poems washed away the glitz of his early years, merged foreign Buddhism with China's inherent five-character poem form, and at the same time inherited the tradition that Buddhist literature attached importance to spoken language, which had an important influence on the formation of vernacular poetry school in Tang Dynasty.
One of Wang Fanzhi's poems (Russian Tibet 1456) is a six-character poem called Echo Music in Wang Fanzhi, which was published in Dali for six years: "When the echo comes (er), you are a thief, but you don't know what to do. Even if you recite thousands of books, you can't see them in your eyes. I didn't understand the essence of Buddhism, so I wrote it in vain. Lan Ruo, a Buddhist monk, is diligent and hopes for future generations. Holding the heart is a great disaster, but what can the Holy Way do? If you realize your dream of life and death, all your desires will rest in peace. " This poem has attracted the attention of scholars who study the history of Huang Dun's songs and lyrics. In fact, it is not real echo music, but a Mahayana ode adapted by Shi Baozhi. "The Record of Jingdezhen Dengchuan" contains the ninth cloud of Liang Baozhi's "Ten Great Praises": "A broken heart is a thief. Thieves communicate with each other. When did they lose their silence? I have thousands of books in my mouth, but I don't know what to ask. I don't know the tact of Buddhism, so I'm looking for a few lines for nothing. Monk o practices asceticism and hopes that future generations will achieve merit. Hope is the difference between saints. How did you get the avenue? For example, crossing a river in a dream and boatmen crossing Hebei. Suddenly I felt asleep in bed and lost the rules of the ship track. The boatman doesn't know another man. All beings are fascinated, fettered and tired of the three realms. Realize that life and death are like a dream, and everything seeks self-interest. "The contrast between the two is basically the same except that Wang Fanzhi's Echo Song changed the first four sentences of Mahayana and deleted the second half sentence of Crossing the River in a Dream. Wang Fanzhi's other poem "The Rule of Law Forever" is also an adaptation of the third poem of Bao Zhi's Ode to Mahayana. Baozhi is a famous monk in the Southern Dynasties, who has the dual qualities of "righteousness" and "supernatural". Later generations unilaterally exaggerated his "supernatural" side, and his "righteousness" side was plain but not obvious. The Legend of Jingdezhen Lantern has thirty-eight songs written by Bao Zhi, who is also one of the pioneers of the vernacular poetry school in Tang Dynasty.
In the late Tang Dynasty, Zong Mi collected all the Zen classics and compiled them into 100 volumes. This earliest collection of Zen Buddhism has been lost, but Zongmi's Four-volume Preface to All Zen Interpretations has survived. Volume 4 said: "Maybe we can reduce its traces appropriately, and for a time, the police will be fascinated." Original note: "Zhigong, Master Fu, Wang Fanzhi, etc." It can be seen that Zong Mi regarded the works of Bao Zhi, Fu Dashi and Wang Fanzhi as Zen works and classified them into one category, which actually revealed the origin of the vernacular poetry school in Tang Dynasty. This vernacular poetry school is actually a Buddhist poetry school, or a "Zen" poetry school. Its origin, establishment, development, prosperity and decline are all in sync with Zen and Zen. Early Buddhist vernacular poems originated from Zen in the Southern and Northern Dynasties. In the early Tang Dynasty, Wang Fanzhi Poems incorporated the vernacular poems of many unknown authors, and the School of Vernacular Poetry was formally established.
Since the rise of Huineng Nanzong Zen, with the increasing influence of Zen, many Zen masters have created a large number of poems that mark the personal clan style. The "Vernacular Poetry School" has not only completed the transformation to Nanzong Zen, but also entered its heyday. This prosperity lasted until the late Tang Dynasty and the Five Dynasties. In the mid-Northern Song Dynasty, "Zen with Ci" rose, and Zen masters survived from Ci, and their creativity and vitality gradually deteriorated. Although the influence of Zen is expanding, Zen, as an ideological movement, has declined. Accordingly, after the mid-Northern Song Dynasty, although Zen poetry accelerated in a wider range, the "vernacular poetry school" declined. After that, Zen poetry no longer has the previous creative enthusiasm and vigorous vitality, but is satisfied with chewing and imitating the achievements of predecessors. Most of the languages they used were spoken in history, but not in reality, and they are no longer true vernacular poems.
The school of vernacular poetry in the Tang Dynasty ran through the whole Tang Dynasty, dating back to the Southern and Northern Dynasties and continuing until the Five Dynasties and the Northern Song Dynasty. Such an important poetic phenomenon has not been paid due attention to for a long time because of various reasons. First, the traditional view of literature has always despised or even rejected popular vernacular literature; Second, a large number of vernacular poems in the Tang Dynasty, such as Wang Fanzhi's poems, have long been lost. Thirdly, the most important reason is that the vernacular poetry school in the Tang Dynasty is basically a Buddhist poetry school, and the traditional literature history of China has never had the status of religious literature including Buddhist literature, which is extremely unfair.
Since Buddhism was introduced into China, it has been China-oriented, and at the same time, it has merged with China culture to form China Buddhist culture, which has become one of the basic pillars of China's traditional culture. China Buddhist literature formed in this process is also an important part of China literature. Buddhist literature has not only been fully developed in China, but also profoundly influenced the thoughts of ordinary people. Reclaiming this vast land is an important task to promote the study of China literature. The School of Vernacular Poetry in Tang Dynasty is a fruitful achievement of Buddhist literature in China. At the same time, its significance transcends Buddhist literature and has broader value. It not only initiated a large-scale Buddhist literature movement in China, but also greatly promoted the evolution of China vernacular popular literature, thus having an important impact on the overall development of China literature. The different artistic styles between the vernacular poetry school and the literati poetry school in the Tang Dynasty enriched the treasure house of China's poetry art, and directly provided nutrition for the pursuit of novelty and change in Song poetry, forming the argumentative and vulgar characteristics of Song poetry. In addition, the school of vernacular poetry in Tang Dynasty also provided valuable reference for the development of new literature with China style and China style today.