| Zen Buddhism of the southern blended the metaphysical "nature" of Laozi and Zhuangzi with the theory of mind and nature,and made the "nature" sink from the metaphysical level to the daily use,forming the natural thought of "tao follows nature" and "touches all things".According to this intention,the poetry poetry poetry composed by Zen is not only an aesthetic poetry,but also an individual way of practicing Zen.After entering the Northern Song dynasty,Buddhist monks paid more attention to the function of natural poetry and Buddhist practice,in this period,natural poetry in the form of self-nature to Tao experience and wonderful imitation of natural scenery appeared widely in quotations.The main idea of the natural poetry of the Northern Song dynasty has its own Zen origin: Cao Dong sect takes the principle of regurgitation as its tenet,and often uses the imagery of regurgitation as its writing object in Natural Gatha;Yunmen absorbed the thought of Hua-yan,and the Natural Gatha stanza obviously showed an undifferentiated understanding of the perception of sound and color,in the practice of meditation,Lin Ji and the two branches of Zen Buddhism take cutting off the flow of the masses as their tenet.They are very alert to language traps and often adopt the method of observing objects by sudden suspension.To sum up,although the purposes of Zen Buddhism in the Northern Song dynasty are different,Zen practice has paid attention to the awareness of the subject,through the way to see the nature and see.The way of observing objects provided by Zen Buddhism in the Northern Song dynasty determines the image features and space-time features in the natural poetry stanza.From the practice of Zen Buddhism,the image is the referential object that accords with the ultimate truth,but from the practice of individual enlightenment,image is also the aesthetic object of the individual’s inner mind to obtain the sense of eternity and transcendence.At the same time,because of the differences in the key points of Zen Buddhism and the differences in aesthetic ideas caused by the geographical differences among the northern song schools,the style of poetic imagery formed a pattern of difference between the Nanyue and the Qingyuan based on the teaching method,the natural poetry of Linji is characterized by its strong and direct expression,while the natural poetry of Caodong,Yunmeng and Fayan is characterized by its quiet and humorous style.Secondly,the temporal and spatial features of poetry have a high sense of fusion between man and nature,and the temporal and spatial features of poetry have broken through the boundary between sentient and heartless,individuals live in nature all the time and recognize the relationship between human and nature through sympathetic activity in their constant dwelling,which makes their aesthetic experience constantly generated and enriched.On the basis of the above two points,this paper holds that the natural poetry of the Northern Song dynasty has the aesthetic characteristics of transcendency in the main idea,imago spirituality in the content and harmony in the realm.To sum up,the Natural Gatha of the Northern Song dynasty show the religious way of understanding nature,and their aesthetic characteristics show the importance of arousing the sense perception to the natural aesthetics.At the same time,because the Natural Gatha has the religious practice goal of Zen Enlightenment,in which the view of object,which takes the sense organ as the approach,is the practice which takes the equality between human and nature in the Buddha nature,and the universal knowledge as the logical starting point,therefore,it advocates the establishment of a sympathetic connection between man and nature,through which we can perceive the natural beauty of ease and harmony.This aesthetic interest is undoubtedly of great referential significance for today’s reflection on how to construct the relationship between man and nature,which is also the value and direction of this study. |
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