The Research Of Late Qing Dynasty Poem Monk Jichan

As an important branch in the field of Buddha Zen research in recent years, PoetMonk has made brilliant achievements, especially in the Late Tang-Five dynasties andthe Late Ming-Early Qing dynasty, however, little attention is paid to the works in theLate Qing dynasty and the Early of the republic of China. Therefore, this paper selectsthe Late Qing dynasty monk icon JiChan (eight fingers buddhist monk) as the objectof the research, trying to fill the gap of the study of poet monk. JiChan devoted all hislife to poetry and Buddha Zen research. He lost parents in his childhood and became amonk, burning two fingers in front of the Budha, named eight fingers buddhist monk.He successively presided over the seven temples, promoted Buddhism and dedicatedhimself for the interests of Buddhism. He wrote poetry since his childhood andcommunicated with his friends about his poems. He combined the Buddhism with Zenand created a lot of poetry with his unique style. And his works were praised by manycritics. This article makes a systematic and in-depth research into his works andprovides a typical case for the study of the works in the Late Qing dynasty and theEarly of the republic of China.The introduction part first shows the cause of topic selection and points out thatJiChan was an important member and leader of the Buddhism and poetry in the LateQing dynasty. He is very sincere in Buddha Zen and his poetry. His Buddha Zenthought and poetry is highly worthy of study. Then this paper reviews the researchstatus of this project. Although there are some evaluation and analysis of JiChan andhis works, most of them are brief and micro, systematic and macro research is veryrare. Therefore, it is a necessity to make the overall macro research on JiChan. Finallythis paper studies the purpose, significance and category of the research.Chapter One: JiChan life experience and his contact with the poetry. First, thetime he became a monk is determined through the study of literature. Then the closerelationship between JiChan and HuXiang poetry, TongGuangti and other the LateTang dynasty factions and literary group is clarified. It peculiarities the pattern ofpoetry and literature style in the Late Qing Dynasty under the background of thedispute between Tang and Song poetry. Chapter Two: The thoughts and change of JiChan’s Buddha Zen. With his lifechange, his literary style changed dramatically. The change is divided into three stages.The first stage is before the guangxu fourteen years. During this period hissupramundane idea gradually formed, the thought of Buddha Zen gradually deepened.The second phase is guangxu fifteen years to guangxu twenty-four years, the idea ofsupramundane and secular entangled. The third phase is after Guangxu twenty-fiveyears his Buddha Zen ideas gradually fade, the thoughts of secular began to form.From supramundane to secular, the change of his thought was full of his deep feelingsfor his country and the life bitterness.Chapter Three: The type and aesthetic characteristics of JiChan’s poetry. Toavoid repetition of the existing research, his poetry is divided into four types. The firsttype is the pastoral landscape poetry reflecting the harmony between the internal andexternal world. The aesthetic characteristic of this type of poetry is natural and pretty.The second type is the poetry about praising the plum blossom, his mostrepresentative works. Its aesthetic characteristics is the Zen Vision, interesting,cleanand cool, quiet without complaining, isolated and not independence, light but not dry.His plum poetry is the result of the combination of human nature, Zen and emotions.The third type is the mourning poems embodying the life consciousness and existenceof Zen. This part of works was never mentioned. The poetry mourning Zen friendsembodies the life consciousness of searching one’s own nature and following one’sown heart. And it also embodies the ultimate idea of the transcendence of death andfinding one’s true self. The concept of life and death is free. The poetry mourningpoetry friends embodies their friendship. He treated these friends as his own brothers.The poetry mourning officials embodies the thought of secular and the consciousnessof social awareness and participation. His true nature even penetrated into mourningpoems. The poems show his distinct personality. On the whole these poems reflect hismercy harbor, social consciousness and secular tendency.The fourth type is poems onpaintings embodying the Zen Buddhism, the artistic accomplishment, his personalityand talent. This part of works was seldom mentioned. Poems on landscape paintingsrepresent his love for woods and springs and the hidden Zen thoughts. Poems onnostalgia paintings express sorrow. Poems on own paintings express his carefree lifeattitude, that is, being indifferent to life. Poems on the paintings of Buddha Zen storiesinterpret the thought of “just let it be” of Buddha Zen. The final part is a brief analysisof JiChan’s Lyric Poetry.VI Chapter Four: The artistic features of JiChan’s poetry from the origin of themonk poem. First,“the poem monk" and "the monk poem" were defined. And thenthe history of monk poetry creation was sorted out. And it came to the conclusion thatJiChan as the core and leading monk poets created the third peak of monkpoetry.Second,“month" and "shadow" open up the analysis of the inheritance of themonk poem typical image. The "month" is the metaphor of eternal existence ofBuddha nature and Zen, the soul, the nature of literature and Zen. The image of"shadow" shapes the picture of static beauty and dynamic beauty, expresses lonelinessand represents the pure Buddhism. The two images of "month","shadow" showsJiChan’s intense life consciousness, the rich emotion experience and the experience ofZen Buddhism, and they are also the exploitation and creation of the monk poemimages. Third, it is the analysis of inheritance of monk poem elegant style. There arethree stages of Buddhist thought. The early stage refers to the style of elegance,leisure and leanness. The middle stage refers to the style of poverty and needy. Thelast stage refers to the style of loneliness and clear wildness. Elegance is themainstream of JiChan’s poetry, with the characteristics of simplicity of Tang Dynastyand the bleakness of late Tang Dynasty. At last, through the analysis of JiChan’s bookentitled “comments on Tang and Song poetry", the conclusion was drawn that herespects the style of the Tang Dynasty and suppress the style of Song Dynasty. Theinheritance of monk poem and the HuXiang creation theory were teased out. It revealsthe disputes between different styles and features in the late Qing Dynasty and theundercurrent achievement of poetic style.Attempt of this article:First, by discussesing the JiChan’s Zen Buddhism and his poetry, aiming atmaking clear the third monk poetry creation peak led by JiChan. It also establishes hisvalue and status in the history of literature and Buddhism history. Through theanalysis of his literary activity in the Late Qing Dynasty and the Early Republic ofChina Poetry, the poetic pattern is clear. This paper tries to fill some of the gaps in thestudy of poetry.Second, from the Buddhist perspective, this paper selects landscape poetry, plumpoetry and mourning poetry which are closely related to Zen Buddhism to analyze theaesthetic characteristics of his poetry. The Zen poems and patriotic poems are ignoreddeliberately. Especially, as the innovation of this paper, the study on mourning poemsand poems on paintings is blank in the past research on the monk poem. It can provide new perspectives and ideas for further study of the monk poem literature.Third, based on the individual study, group study and cohort study in the past.From the historical origin of the monk poem, this paper studies the JiChan’sinheritance and innovation for the creation of the monk poem. This paper increasesthe rigor and reliability of the conclusion and enriches the methods of monk poemliterary study.