唐宋审美转型中佛禅“空”境的文学书写新变——以王维和苏轼为中心

The New Changes in Literary Writing About the Buddhist Zen “Emptiness”Realm in the Transformation of Aesthetics from Tang to Song Dynasties— Centered Around Wang Wei and Su Shi

在唐宋审美转型背景下,王维与苏轼诗词中对于佛禅“空”境书写的新变,从写作手法、审美意蕴和内在精神追求三个层面,折射出佛禅“空”境文化气质的唐宋变化。王维通过以画入诗方式形成的“空”境,自我与宇宙万象浑然天成,圆融无碍,蕴含着一种空灵蕴藉的灵动之美,充满对宇宙自然世界美的发现的一往情深,是王维诗歌禅意盎然的重要体现。苏轼采用以禅入诗方式形成的“空”境,则大多于世事沧桑的自我人生经历中,伴随着对宇宙人生空幻寂灭的持久体验,始终关注对自我个体生命的内在超越,从而使其诗词中的“空”境,在具有形而上意义的空幻寂灭之悲剧色彩的同时,也蕴含着性命自得的内在精神追求,具有较强的禅理意味。

In the context of the transformation of aesthetics from Tang to Song Dynasties,the changes in the writing of the“emptiness”realm of Buddhism and Zen in Wang Wei’s and Su Shi’s poetry works reflected the cultural temperament of the“emptiness”realm of Buddhism and Zen from three aspects:writing techniques,aesthetic implications,and internal spiritual pursuit.The“emptiness”realm formed in Wang Wei’s literary works through the way of“writing poems by painting”,was the spontaneous integration of self and the natural phenomena in the universe,implicating the beauty of spiritual and subtle movement,harboring the deep feelings towards the discovery of the beauty of the universe,which was the manifestation of the Zen spirit in Wang Wei’s poems.However,the“emptiness”in Su Shi’s works was formed in the approach of“incorporating Zen into poetry”,mostly reflecting his own life experiences during the vicissitudes of life,accompanied by a lasting experience of the emptiness and silence of the universe and life.He always paid attention to the forgetfulness and transcendence of his individual inner life,thus making the“emptiness”in his poetry and works not only have the tragic color of the emptiness and silence with metaphysical significance,but also contain the inner spiritual pursuit of self-sufficiency in life,which had a strong sense of Zen philosophy.