越南《李陳詩文》佛教文學研究

李陳時代是越南封建社會發展的鼎盛時期，在被外國統治一千年之後，國家獲得獨立的主權，李陳文學就在此時誕生。這段時間，是越南文學的初始階段，而李陳時代的佛教文學是越南文學最為先鋒的兩種文學之一（另一種是筆記文學），其非凡的文學成就在於形塑了獨一無二、前無古人後無來者的越南佛教文學風格。　　越南《李陳詩文》至今雖然有很多人關注研究，獲得可貴的成就，但對於其文學歷史的研究還不夠深入。因此本文從廣義的角度進行研究，包括：佛教與文學的關係；越南與東亞各國地區佛教文學的交流關係；概括研究越南佛教文學；闡述佛教文學階段性的歷史背景。以及從狹義的方向來談，就作者、作品、體裁、藝術語言特徵等角度進行研究。本文所提出的論點概括性的研究越南長達五個世紀的文學類型，並且要深度具體的描述作品、作者的思想內容、藝術、體裁、語言，指出其真正面貌和特點。　　本論文的具體研究結構如下：第一章是緒論介紹整本論文的研究主題和研究架構。第二章是對李陳時代佛教發展狀態及其文學環境做詳細說明。其次，陳述李陳之前的交州佛教文學，李陳之前的越南佛教形況及其演變過程。這時代佛教在社會保有非常重要的地位，因此，進一步概說李陳的佛教盛況，並略述李陳佛教和印度、中國佛教的關係，以及其佛學、禪學、文學的特點。同時也在本章的第三節談及李陳的文學特點和當時的社會特徵。第三章說明《李陳詩文》的編纂者以及全書的成書過程和内容架構，進一步述評和介紹李陳詩文的作者類別，其創作者的身份非常特殊，有皇帝、貴族、官吏、禪師、僧人、儒者等，最後再論及全書的內容架構。第四章詳細討論《李陳詩文》的文學特色，包括創作題材與文學體裁（傳遞佛教教理，宣教詩偈；描寫自然環境，情理詩歌；反映家國意識，社會歌詩；反省現世人生，駢散文類），以及談到佛教思維的藝術表現（佛教與文學思維交融，心靈直覺的藝術思維），再論及李陳詩文的語言特徵與典故運用，包括︰禪哲理語言、隱喻手法、超邏輯語言、善用典故等手法特徵。第五章研究李陳詩文的思想特色，分為幾個面向來討論：一者，體現佛性思想（心佛一如，凡聖不異）；二者，融合禪淨精神（佛教各宗派思想的融合，佛儒道思想的融合）；其三，行道不離愛國（呈現隨緣樂道生活，發揚佛教入世精神）。第六章是論文的總結論。　　整體而言，《李陳詩文》不僅繼承之前文學的成就，還影響後期文學，給越南文學帶來豪氣、開放、隨俗等元素和樂觀的精神，創造禪門談世事詩文，並給各代讀者留下美好的印象。可以說，《李陳詩文》是一個獨特聲音，那聲音是佛教盛行時代的精華，讓越南文學內容更精彩多樣化。

關鍵字

李陳詩文；越南佛教；李陳時代；李陳佛教思想；佛教文學

並列摘要

Vietnamese feudal society thrives during the Li Dynasty and the Tran Dynasty when Vietnam becomes an independent country after ruled by foreign authorities for a thousand year. It is this period that Vietnamese literature booms. Notably, Buddhist literature and Vietnamese literature during Li and the Tran Dynasty are two pioneering and unique literary styles. “Thơ Văn Lý Trần” not only succeeds spirits from previous research but also impacts tremendously on later works, which gives Vietnamese literature the open, vivid and optimistic visions. Furthermore much impresses readers. “Thơ Văn Lý Trần” diversifies the variety of Vietnamese literature, placing it as a unique essence during the Buddhism era. Although a vast amount of research has been focused on “Thơ Văn Lý Trần," in the literary and historical viewpoints, those studies did not engage thoroughly. This study aims to fill the knowledge gaps of known researches. Taking a broad view, this study is constituted with four aims: 1) investigation of the general relationship between Buddhism and literature, 2) dissection of the communication between Vietnamese and other regional Buddhist literature, 3) general research on Vietnamese literature and 4) elucidation of the phasic historical background of Buddhist literature. In a narrow view, this study also aims to individually dissect issues from different aspects, including those of authors, works, forms, and artistic languages. Arguments raised in this study include those from general and specialized elements. Moreover, this study covers literary forms across five centuries and reveals the true meaning of the works by thoroughly dissecting the mind of the author, types of the work, and arts and language. Structurally, this study is separated into six chapters. The first chapter is the overall introduction. In the second chapter, I emphasize the development of Buddhism and literature during the Li Dynasty and the Tran Dynasty, which includes the developing processes of “Giao Châu” Buddhist literature and Vietnamese literature before the Li Dynasty and the Tran Dynasty. During such era, Buddhism plays essential roles in the Vietnamese society; therefore, it is required to understand the splendid period of Vietnamese Buddhism during the Li Dynasty and the Tran Dynasty and its relationships with Indian or Chinese Buddhism or other fork religion. The focus shifts into detail analyses of authors and literary works during the Li Dynasty and the Tran Dynasty in the third chapter. Worth mentioned some of the authors have specific titles, such as the emperor, the royalty, the authority, the master of Buddhism, the monk, and the scholar of Confucianism. I perform analyses and comparisons of rhetoric and theme (including Buddhism, nature, life, and lives) towards the works. In the fourth chapter, I disentangle the thoughts of the authors during the Li Dynasty and the Tran Dynasty. The instinctive religious, artistic thoughts (combination of Buddhism and literature and instinctive artistic mindsets) reveal the combination of Buddhism and other thoughts (the combination of Buddhism and Confucianism, Buddhism and Taoism or the combination of Buddhism, Confucianism, and Taoism), and the impacts of the social development (enlightenment of nation and the philosophy). Besides, the fourth chapter is also engaged with the discussion of the aesthetics during Li Dynasty and the Tran Dynasty (symbolistic nature or realistic nature) and other special occasions and achievements (such as religious preach influenced by poetry). I discuss the artistic languages or rhetoric performed in “Thơ Văn Lý Trần”, which includes Buddhist language, metaphor, non-logic language, and literary quotation. Lastly, I summarize the findings in the sixth chapter.