身与物化,随缘任运——邢慈静诗作的佛光道影及其产生的根源

Gone With the Materialization of the Body and Fate——the Source and Reflection of Xing Cijing's Buddhism and Taoism

邢慈静所生活的明代末期,上自皇室下至平民宗教信仰极盛,她自幼便濡染了浓厚的佛道思想,这一思想成为她大半生从精神上摆脱厄运的"法宝"。她晚年自刻的《芝兰室非非草》木板诗集,字里行间都散射着佛光道影,反映了其自出嫁至终老的佛道思想轨迹,让人看到了一个实践了佛家"出世"即"入世’的精深教义的女信徒。

Xing Cijing lived in the end of Ming Dynasty when the religious belief was greatly popular from Palace to the common people. She was affected by the strong Buddhism and Taoism which had become the Magic weapon to get rid of the doom from the mind during her most life. （Zhi Lan Shi Fei Fei Cao}）was her Wood Anthology carved by herself in her later life. The Buddhism and Taoism was represented between the lines and reflected the process of her Buddhism and Taoism from her marriage to her death. Xing Cijing was known as a Female follower who proved the sophisticated doctrine from the separation to combination with the society.