作　　者： ;

机构地区： 深圳大学文学院

出　　处： 《深圳大学学报（人文社会科学版）》 2003年第6期74-77,共4页

摘　　要： 因有以禅入诗、入画的传统,中国历史上出现了为数众多的诗僧、画僧、诗画僧。文人墨客创作的“禅意诗”、“禅意画”与禅僧禅心外化的“禅诗”、“禅画”有本质上的区别。苏曼殊诗画带有明显的禅佛色彩,如其诗画里大量出现的禅佛名相以及带有“依我自悟”表征的“我”的形象第一人称代词,进一步强化了其现代禅僧的身份特征。 With the tradition of putting Zen into poetry and paintings, in Chinese history, there occurred a multitude of Buddhist monk- poets, monk painters and monk poet- painters. There was an essential distinction between Zen- poetry and Zen- paintings coming from their hearts and the poetry and paintings with Zenist messages by secular men of letters. SU Man shu′ s poetry and paintings were tinged with Zen- Buddhism. For example, the Zen- Buddhist touch in his use of nouns together with the first- person pronouns indicating his own image and manifesting his ' self- awareness by myself' further highlighted his identity as a modern Zen- Buddhist monk.

关 键 词： 苏曼殊 诗僧 禅诗 禅画

领　　域： [文学]