《Journal of Chinese Language and Literature（中國語文學）》 is an academic journal published by Chinese Literary Society of Yeungnam, registered in the National Research Foundation of Korea. It deals with research papers, translations, book reviews, reports on academic activities and research data on Chinese literature and Korea-China comparative literature, publishing original papers with creativity and academic values, which meet the format of academic paper, translations and annotations based on new interpretations of Chinese literary classics or academic writings with an urgent need to be introduced to the Korean academic world. Since a Digital Object Identifier (DOI) is given to the paper published in our academic journal, anyone can search and cite that very easily from all over the world. It is published three times a year, at the end of April, the end of August and the end of December, and the 85th volume was published in 2020.
Pirixiu, a person in the late Tang Dynasty, compiled ≪Piziwenshou≫ of total 10 books by collecting his own writings in the 7th year of the reign of Yizong Xiantong in the Tang Dynasty. <Sanshoushi> is one of 36 poems included in Volume 10 and a group of poems that consists of 3 poems with the titles of “Three types of disgrace”. Pirixiu compiled ≪Piziwenshou≫ by collecting writings which can show his political view, study, ideas, or refinement to prove that he is perfectly qualified to be a government official. <Sanshoushi> sharply expressed criticism on politics of the time and his political view. Pirixiu made specific events of reality including Pirixiu's political situations of 7 years, the war with Nanzhao , and failure of the livelihood of the people in the whole area of Huaishui as well as Xuzhang his topics. Pirixiu emotionalized his sharp criticism with disgrace and criticized himself with shame. However, his shame eventually had a strategy to reveal political mistakes of the royal court and government officials of the time ironically. He indicated problems of the persons in charge of state affairs in the first poem and described defence matters in the second poem and failure of the livelihood of the people in the third poem, which are based on the political view that the people is the basis of politics. In addition, he expresses openness of channels of speech and the necessity of talented persons who can remonstrate with the king. In conclusion, Pirixiu disclosed a national crisis of the time to people, criticized the people having party presidency who caused it, and furthermore, expressed his wish to correct it by himself through Sanshoushi. For this, he selected the most timely and urgent topic and took a strategy to deliver his political opinions and desire based on the political view based on traditional Confucianism.
This paper is an investigation of Ding Wei's Object-chanting poems. In the early Song Dynasty, Ding Wei, referring to the category of Shi Lei Fu, created more than 100 Object- chanting poems in the form of Li Qiao's Five-character poetry. The main contents are flowers and trees, birds and animals, insects and fish, food and clothing, which guide the development direction of chanting poetry in the Northern Song Dynasty. Although Ding Wei was regarded as one of the members of Xikun style, his themes are more extensive and his creative ideas are more positive than those of Xikun style. Ding Wei was a master of a poem with one word title of chanting things in the early Northern Song Dynasty. He was the forerunner of the Song poetry's characteristics of “Taking talents as poems, and discussing as poems”, and made great contributions to the establishment of the model of chanting things in the Song Dynasty.
The Platform Sutra’s “thirty-six pairs of opposites” concept is a continuation of the “middle way” idea of the Buddhist tradition’s Madhyamaka-śāstra and the Mahāprajñāpāramitā-śāstra as well as the “dharma-gate of non-duality” concept of the Vimalakīrti-nirdeśa- sūtra. It also contains the “characteristics of phenomena” concept of the Consciousness-only school. This concept reflects the traditional Confucian idea of “listening to both sides and choosing the middle course” as well as the Taoist concept of “mutual incompatibility and mutual generation.” These concepts all combine to form the “thirty-six pairs of opposites.” The importance of this teaching is shown in how it is the basis for the transmission of teachings from master to disciple in Zen Buddhism. The main themes of the entire Platform Sutra have been compatibly intermixed with traditional Chinese literature and art to such an extent that it is hard to tell where one ends and the other begins. This shows that Buddhism has an inseparable relationship with traditional Chinese thought, literature, and art.