日本的八景诗与潇湘八景

An Inquiry Into the “Harmony”Style and Poetic Image of the Eight Views of Xiaoxiang

"潇湘八景"在中日禅宗文化交流中,约于13世纪初传入日本,其意蕴丰富的诗画意象融入"和"文化而激发生机,获得了广阔的造境抒情空间,延绵几个世纪而不衰,滋生繁衍成为形态多样的日本化八景,产生了数量不少的八景诗,但迄今却鲜有探赜。本文欲通过史料的发掘和爬梳,探赜日本八景文化丰富展开的形态,尤其就日本八景诗之源流、审美理想及深层意趣与潇湘八景诗作一比较论析,以期重新认识潇湘八景在中日文化交流史中的意义和价值,找到潇湘八景远播异域所形成文化张力的历史依据,为"本土文化经验的世界性"研究寻求可资借鉴的范例。

The Eight Views of Xiaoxiang was introduced into Japan in about the early 13th century. The poetry-painting images with rich implication were blended into ＂Harmony＂ culture and their vitality stimulated, gaining a vast territory of lyrical space by creating scene, stretching for centuries without decline. The ＂Harmony＂ style and the poetry image of the Eight Views deriving from the Eight View culture is rich and diverse, but is rarely explored. This essay intends to probe into it through literature and the historical facts in order to reevaluate the significance and value of the Eight Views of Xiaoxiang in the Sino-Japanese history of cultural communication, to find the historical evidence of cultural tension arising from the Eight Views culture of Xiaoxiang being spread abroad, and to seek for examples which can be drawn upon for study of making cultural experience universal.