東華大學圖書館 |

Poetics of Silence: Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Poetics of Silence: Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu // Christopher Byrne.
作者:	Byrne, Christopher,
面頁冊數:	1 electronic resource (300 pages)
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Chinese literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28251658
ISBN:	9798597023229

Poetics of Silence: Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu /
Byrne, Christopher,

Poetics of Silence: Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu /Christopher Byrne. - 1 electronic resource (300 pages)

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

This dissertation fulfills two aims: First, it provides the first comprehensive analysis of the poetic genres written by Chan Buddhist monks as part of their religious vocation and as collected within yulu (recorded sayings) during the Song dynasty (960-1279). Second, it demonstrates how Chan's claim to an ineffable insight "not dependent on words and letters" (buli wenzi) paradoxically informs the literary character of its monastic poetry. My research focuses on the poetry of master Hongzhi Zhengjue (1091-1157), who, along with being one of the most prolific poets among Chan masters, is renowned for advocating the meditative practice of "silent illumination" (mozhao) that defines his Caodong sect. I argue that the principle of silence defines the nature of Hongzhi's poetics as the primary theme and image of his verse.By organizing my literary analysis of yulu according to genre, I demonstrate how each poetic genre adopts conventions particular to its own literary and religious functions, while engaging with the principle of "beyond words" that characterizes yulu collections as a whole. In Chapter One, I illustrate how poetry has remained an integral and significant component of Chan yulu collections since they began to be published as independent works during the early Song dynasty. I then argue that Hongzhi's doctrinal verses (Chapter Two) poetically express a philosophical paradigm, in which silent meditation and linguistic expression can be seen as complementary aspects of a single practice. In Chapter Three, I show how songgu-verses written in response to Chan gong'an (J. koan)-formed the literary focal point of Chan gong'an collections and how their composition was a central aspect of monastic training and pedagogy, as also reflected in the poetic character of the dialogical sermons that epitomize yulu. In Chapter Four, I examine how the social-occasional poetry of Chan masters like Hongzhi was collected as, and transformed into, Buddhist gatha (Ch. jisong) during the Song, expressing a non-dualistic doctrinal perspective within poetry (a.) exchanged with monks, nuns, laymen and laywomen, (b.) written in the reclusive mode, and (c.) composed for the ritual and economic activities of the monastery. Finally, in Chapter Five, I analyze a sample of the hundreds of portrait encomia (zhenzan) Hongzhi inscribed on his own portrait as a means of promoting the master as an embodiment of total silence in which the distinction between language and silence itself is ultimately dissolved. I conclude that Hongzhi's poetry represents a distinctively Chan poetics crafted to merge the non-discriminative wisdom of silence with literary expression.

English

ISBN: 9798597023229Subjects--Topical Terms:

703399
Chinese literature.
Subjects--Index Terms:

Poetics of silence

Poetics of Silence: Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu /
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520 $a This dissertation fulfills two aims: First, it provides the first comprehensive analysis of the poetic genres written by Chan Buddhist monks as part of their religious vocation and as collected within yulu (recorded sayings) during the Song dynasty (960-1279). Second, it demonstrates how Chan's claim to an ineffable insight "not dependent on words and letters" (buli wenzi) paradoxically informs the literary character of its monastic poetry. My research focuses on the poetry of master Hongzhi Zhengjue (1091-1157), who, along with being one of the most prolific poets among Chan masters, is renowned for advocating the meditative practice of "silent illumination" (mozhao) that defines his Caodong sect. I argue that the principle of silence defines the nature of Hongzhi's poetics as the primary theme and image of his verse.By organizing my literary analysis of yulu according to genre, I demonstrate how each poetic genre adopts conventions particular to its own literary and religious functions, while engaging with the principle of "beyond words" that characterizes yulu collections as a whole. In Chapter One, I illustrate how poetry has remained an integral and significant component of Chan yulu collections since they began to be published as independent works during the early Song dynasty. I then argue that Hongzhi's doctrinal verses (Chapter Two) poetically express a philosophical paradigm, in which silent meditation and linguistic expression can be seen as complementary aspects of a single practice. In Chapter Three, I show how songgu-verses written in response to Chan gong'an (J. koan)-formed the literary focal point of Chan gong'an collections and how their composition was a central aspect of monastic training and pedagogy, as also reflected in the poetic character of the dialogical sermons that epitomize yulu. In Chapter Four, I examine how the social-occasional poetry of Chan masters like Hongzhi was collected as, and transformed into, Buddhist gatha (Ch. jisong) during the Song, expressing a non-dualistic doctrinal perspective within poetry (a.) exchanged with monks, nuns, laymen and laywomen, (b.) written in the reclusive mode, and (c.) composed for the ritual and economic activities of the monastery. Finally, in Chapter Five, I analyze a sample of the hundreds of portrait encomia (zhenzan) Hongzhi inscribed on his own portrait as a means of promoting the master as an embodiment of total silence in which the distinction between language and silence itself is ultimately dissolved. I conclude that Hongzhi's poetry represents a distinctively Chan poetics crafted to merge the non-discriminative wisdom of silence with literary expression.
520 3 $a Cette thèse répond à deux objectifs: d'abord, elle fournit la première analyse exhaustive des genres poétiques écrits par un moine bouddhiste Chan dans le cadre de sa vocation religieuse et recueillis dans les yulu (recueil de paroles) au cours de la dynastie Song (960-1279). Deuxièmement, elle démontre comment la revendication de Chan pour un concept inexprimable «ne dépend pas des mots et des lettres» (buli wenzi) nous renseigne paradoxalement sur le caractère littéraire de sa poésie monastique. Mes recherches portent sur la poésie de Maître Hongzhi Zhengjue (1091-1157), qui, tout en étant l'un des poètes les plus prolifiques parmi les Maîtres Chan, est réputé pour défendre la pratique méditative de «l'illumination silencieuse» (mozhao) qui définit sa secte Caodong. Je soutiens que le principe du silence définit la nature de la poésie de Hongzhi comme le thème et l'image primordiaux de ses poèmes. En organisant mon analyse littéraire des yulu selon le genre, je démontre comment chaque genre poétique adopte des conventions particulières à ses propres fonctions littéraires et religieuses, tout en attirant l'attention sur le principe «au-delà des mots» qui caractérise les collections de yulu dans leur ensemble. Dans le premier chapitre, j'illustre la façon dont la poésie est restée une partie intégrante et importante des collections de yulu Chan depuis qu'ils ont commencé à être publiés comme oeuvres indépendantes, au cours du début de la dynastie Song. Je soutiens ensuite que les versets doctrinaux de Hongzhi (deuxième chapitre) expriment d'une façon poétique un paradigme philosophique, dans lequel la méditation silencieuse et l'expression linguistique peuvent être considérés comme des aspects complémentaires d'une même pratique. Dans le troisième chapitre, je montre comment les songgu-des versets écrits en réponse au gong'an Chan (J. koan)-forment le point focal littéraire des collections de gong'an Chan et comment leur composition était un aspect central de la formation et de la pédagogie monastiques comme reflété également dans le caractère poétique des sermons dialogiques incarnés par les yulu. Dans le quatrième chapitre, j'examine comment la poésie sociale occasionnelle des Maîtres Chan comme Hongzhi a été recueillie et transformée en gatha bouddhiste (Ch. jisong) au cours de la dynastie Song, exprimant un point de vue doctrinal non-dualiste au sein de la poésie (a.) échangée avec les moines, les religieuses, les hommes et les femmes laïques, (b.) écrit dans le mode reclus, et (c.) composées pour les activités rituelles et économiques du monastère. Enfin, dans le cinquième chapitre, j'analyse un échantillon parmi des centaines de portraits encomia (zhenzan) que Hongzhi a inscrits sur son propre portrait comme un moyen de promouvoir le Maître comme une incarnation du silence total dans lequel la distinction entre le langage et le silence lui-même est finalement dissoute. Je conclus que la poésie Chan de Hongzhi représente une poésie distincte conçue pour fusionner la sagesse non-discriminatoire du silence avec l'expression littéraire.
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