【摘要】：《維摩詰經(jīng)》是早期傳入中國的大乘佛教經(jīng)典,也是最受中國知識份子喜愛、帶有文學(xué)色彩的佛教典范,經(jīng)中提倡“出家不離家”的居士信仰,對中國文人產(chǎn)生了極大影響,從而成為少數(shù)完全融入中國文化的佛教經(jīng)典之一。自傳入中國之始,此經(jīng)先后出現(xiàn)七個漢譯本,其中支謙譯本、羅什譯本、玄奘譯本均存于世。本文先從文獻的角度考察《維摩詰經(jīng)》在印度的形成及中國的流傳情況,并對現(xiàn)存三個漢譯本的譯者、譯文進行比較和分析,以探討《維摩詰經(jīng)》不同譯本間的傳承關(guān)系、流行程度及文體特點；再從中國古代作家對《維摩詰經(jīng)》的征引入手,以期了解《維摩詰經(jīng)》對中國古代文學(xué)作品的影響。 緒論部分首先概述《維摩詰經(jīng)》的研究現(xiàn)狀,再確定本文的研究思路和目標(biāo),說明采用的研究方法。 第一章考察《維摩詰經(jīng)》在印度的起源以及在中國的弘傳�！毒S摩詰經(jīng)》是大乘佛學(xué)早期經(jīng)典,現(xiàn)無法確定作者,很可能是龍樹弟子所造；另外,梵文《維摩詰經(jīng)》一度亡佚,但1999年日本學(xué)者在西藏考察時發(fā)現(xiàn)梵文《維摩詰經(jīng)》尚存于世,2004年日本大正大學(xué)綜合佛教研究所梵語佛典研究會編著的《維摩經(jīng)：梵藏漢對照》出版面世。 第二章考察現(xiàn)存三種漢譯本的譯師及其背景。文獻主要介紹三位譯師生平、譯經(jīng)情況、譯經(jīng)主張及其成就,對三位譯師生活的不同時代進行比較,并引入美國翻譯理論家勞倫斯·韋努蒂在《譯者的隱形》一書中提出的異化和歸化的概念來分析三個漢譯本的文化取向。 第三章對現(xiàn)存三種漢譯《維摩詰經(jīng)》進行文獻研究。本章主要是比較分析三漢本的譯文字?jǐn)?shù)、譯經(jīng)品目、傳承關(guān)系。字?jǐn)?shù)方面,支謙譯本最簡,羅什譯本較支譯本為繁,玄奘譯本最繁,其原因與三譯者譯經(jīng)動機密不可分。品目方面,三譯本均作十三品,品名有同有異,本章結(jié)合辭書考述同品異名之間的關(guān)系。傳承方面,羅什譯本吸取支謙譯本經(jīng)驗,玄奘則對前兩者均有吸收,由支謙譯本對后來譯師的影響,可知支謙譯本功不可沒。 第四章亦為文獻研究,主要對現(xiàn)存三譯本文體、句式特點、譯本流行情況進行了考察。支謙譯本和羅什譯《維摩詰經(jīng)》以四言為主,其中原因是：《老子》的影響；四言句式與梵文佛典莊重典雅的風(fēng)格相吻合；佛經(jīng)記頌的需要；駢文的部分影響。玄奘譯本以八言句式為主,成因是：合并什譯文的四言句式；不足八言時添加詞語構(gòu)成八言句；八言句式譯經(jīng)與梵文的首盧偈有關(guān)。三漢譯本流行程度不同,其原因為：譯本語言因素、譯者個人因素、歸化與異化的不同取向。 第五章考察中國古詩中征引《維摩詰經(jīng)》的情況以探索此經(jīng)對古詩的影響。六朝“維摩詩”數(shù)量最少,藝術(shù)性不高卻初具規(guī)模。唐詩引此經(jīng)者較多,特點有：居士信仰日�；幌胂罅ωS富；佛仙同列而儒釋齊觀；佛經(jīng)詞語文學(xué)色彩漸濃佛教色彩轉(zhuǎn)淡。宋詩引此經(jīng)數(shù)量為最,特點是：好詠梅花與疾��；大量僧人創(chuàng)作“維摩詩”；風(fēng)格上有俗化的趨勢。金、元、明代“維摩詩”續(xù)宋代之余波,可見《維摩詰經(jīng)》影響并無間斷；清代“維摩詩”體現(xiàn)了強烈的愛國主義精神和近代的自由氣息。 第六章分析宋詞、元曲、明清小說中征引《維摩詰經(jīng)》的情況,探索其對文學(xué)的影響。隨著時間的推移,《維摩詰經(jīng)》與中土文化的融合越來越密切,“維摩”不再是單純的佛教信仰,而是與詞、曲、小說結(jié)合在一起,有的作為典故,充實著文學(xué)的表現(xiàn)內(nèi)容；有的成為敘事作品的材料,成為小說中的素材；《維摩詰經(jīng)》所提倡的“出家不離家”的修行方式還為元雜劇《布袋和尚忍字記》提供了創(chuàng)作靈感與思路。
[Abstract]:The Vimalakian Sutra is a Mahayana Buddhist classic that was introduced into China in the early days. It is also the most popular Buddhist model with literary flavor among Chinese intellectuals. The Buddhist belief of "leaving home without leaving home" advocated in the Sutra has exerted a great influence on Chinese literati, and thus became one of the few Buddhist classics that fully integrated into Chinese culture. There are seven Chinese versions of the Sutra, including Zhiqian's, Rush's and Xuanzang's. This paper first examines the formation of the Sutra of Vimalakia in India and its spread in China from the perspective of literature, and compares and analyzes the translations of the three existing Chinese versions in order to explore the relationship between the different versions of the Sutra of Vimalakia. This paper is concerned with the degree of popularity and stylistic features of the book, and then attempts to understand the influence of the book on Chinese ancient literary works by introducing the Chinese ancient writers'signature on the book.
The introduction first summarizes the research status of Vimalakia, then defines the research ideas and objectives of this paper, and explains the research methods used.
Chapter One examines the origin of the Vimalakian Sutra in India and its spread in China. The Vimalakian Sutra is an early classic of Mahayana Buddhism, and the author is uncertain. It was probably created by the disciples of Dragon Tree. In addition, the Sanskrit Vimalakian Sutra was once lost, but in 1999 Japanese scholars visited Tibet found that the Sanskrit Vimalakian Sutra still exists, 2004. The Vimo Sutra: A Comparison of the Sanskrit, Tibetan and Chinese Languages, compiled by the Sanskrit Buddhist Scripture Research Society of the Institute of Comprehensive Buddhism of Benzheng University, has been published.
Chapter Two examines the three existing Chinese translators and their backgrounds. The literature mainly introduces the life of the three translators, their translations, their views and achievements, compares the different times in which they lived, and introduces the concepts of alienation and domestication proposed by Lawrence Venuti, an American translation theorist, in his book The Translator's Invisibility. The cultural orientation of the three Chinese versions is analyzed.
Chapter Three makes a literature study of the three existing Chinese versions of the Vimalakian Sutra. This chapter mainly makes a comparative analysis of the number of translated texts, the categories and the inheritance of the three Chinese versions. In the aspect of inheritance, Rush's version absorbs the experience of Zhi Qian's version, while Xuan Zang absorbs both of the former. From the influence of Zhi Qian's translation on the later translators, we can see that Zhi Qian's translation is indispensable.
Chapter Four is also a literature study, which examines the stylistic features, sentence patterns and the popularity of the existing three versions. Influences. Xuanzang's translation mainly consists of eight-character sentence patterns, which are caused by the combination of four-character sentence patterns of what is translated; eight-character sentence patterns are formed by adding words when there are not enough eight-character sentences; eight-character sentence patterns are related to Sanskrit's Seoul Nun.
The fifth chapter investigates the quotation of Vimalakian Scripture in ancient Chinese poetry to explore its influence on ancient poetry. The number of Vimalakian poetry in the Six Dynasties was the smallest, but its artistry was not high. There were many quotations in Tang poetry, which were characterized by the daily worship of Buddhists, the richness of imagination, the concurrence of Buddhists and immortals, the unity of Confucianism and Buddhism, and the gradual enrichment of the literary color of Buddhist scripture. Buddhist colors fade. Song poems cite the number of sutras as the most, characterized by: a good chant of plum blossoms and diseases; a large number of monks create "vernacular poems"; style has a tendency to vulgarization. Jin, Yuan, Ming Dynasty "vernacular poems" continue the aftermath of Song Dynasty, it can be seen that the influence of "vernacular sutras" is not interrupted; Qing Dynasty "vernacular poems" embodies a strong patriotic spirit and The freedom of generation.
Chapter Six analyzes the quotation of Vimalakia in Song Ci, Yuan Qu and Ming and Qing novels, and explores its influence on literature. As time goes on, the integration of Vimalakia with Chinese culture is becoming closer and closer. Vimalakia is no longer a simple Buddhist belief, but a combination of words, songs and novels. Some of them are used as allusions to enrich literature. Some of them become the material of narrative works and become the material of novels. The practice of "being a monk without leaving home" advocated in the Vimalakian Sutra also provides inspiration and ideas for the Yuan Zaju opera "The Story of Bu-bag Monk's Tolerance".
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號】：B948

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