试论丰子恺的文化选择
摘要
生活于中国现代转型期的丰子恺在思想上深受中国传统文化影响,儒道释文化思想在其文学世界里交融并存,因而在其文学创作中体现出的是走向传统文化的表象。但在对其散文进行解读时,展现的却是充满现代意味的反思。在“新文化”运动勃兴的氛围中丰子恺在对儒家思想的坚守中表达着现代性的思考,包括他对家园的不断书写,都市兴起背后对家园失落的反思,也饱含着他对中国传统儒家艺术观念的认同。在对佛教思想的阐扬中体现出现代民族国家建构的渴慕,在佛教“共难”、“斥妄”、“显正”的教义引领下对不合理的社会现状给予批判,对新的社会主义制度加以讴歌,同时在其人生意义的思索中表达了美善观念统一在现代社会的合理性诉求。在道家文化的坚守中彰显着“自由”精神对于现代理性的反拨。丰子恺对传统文化精神的选择表明了他在社会转型期中的文化立场,这也可视为中国走向现代化过程中的一种思考向度。但不可否认的是丰子恺的人生经历和文字表述中也体现出某些消极的意味。
As a late modern country, China was forced to go in for modernization. Thus in the process to modernization, traditional Chinese culture, which was ruptured, had to face the challenges from modern culture. In such a situation, China's intellectuals were confronted with the self-selection of cultural value, and Feng Zikai, who lived in China's transitional period of modernizing, had to face such a destiny. As an artist in modern China, Feng got involved in many fields, such as drawing, music, calligraphy, appreciation of epigraphy, architectural art, art theory, prose writing, classical poetry etc. and made some achievements in almost every field he covered. He was proficient in several foreign languages and translated many books. So his orientation of selection is really worth thinking about that a man who lived in modern language circumstances should choose to persist to traditional culture. Meanwhile he also expressed in his prose the reflection to modern city culture. Therefore, I compose my thesis with the starting point of Feng Zikai's different attitudes towards modern culture and traditional culture.
As a writer with a particular style of writing in modern Chinese literary world, Feng was influenced much more than other contemporary writers by traditional Chinese culture. His art style and art spirit are exactly the embodiment and continuation of traditional Chinese art spirit. In his work The Three-Storey Building, Feng put religion on the top. In China, there is no doubt that Buddhism and Taoism are religions. In fact, we can also look on Confucian culture as Confucianism, and maybe Feng Zikai' belief in traditional Chinese culture is his belief in religion. In modern language circumstances, we need to think about the modern implication showed in Feng's expression of traditional Chinese culture. Sometimes the expression is not direct, but is hidden behind more subtle descriptions. Whereas in his prose works he expressed after all his own value judgment and culture orientation.
Firstly, I focus on Feng's pursuing for modernity, which is showed in his continual descriptions of Confucian culture. Beginning from the formation of his Confucian thought, I research into his family education and the influences from three masters in the history of modern Chinese culture, namely Li Shutong, Xia Mianzun and Ma Yifu. He formed his main cultural thought during his study period. The three masters also lived in the transitional period to modern society, and their thought itself includes the thinking of tradition and modernity, which would certainly influence Feng Zikai's attitude towards culture. I therefore mainly discuss his confirmation for Confucian culture in the atmosphere of New Culture, and appreciate the traditional implication in his concept of Nation. Feng Zikai considered Nation as a unity of household, family and homestead, so he started from his descriptions of household and homestead, which he made the main body of his writing, to show his feeling for reality. In fact, all these should be looked on as descriptions for the Nation. On the early days when he entered the literary world, Feng focused just on family chores and romance, but from 1930s, as the political situation changed, he added in his prose the contents of facing up to society. Even his descriptions of homestead are connected to the destiny of the country. At the same time, Feng's feeling was deeply attached to the folk society. He had a critical attitude towards the different aspects of city culture, especially estrangement and isolation between people in modern cities. He showed his boredom and agony for the modern urbanites' using different means to isolate people from each other. All these could be seen from his attaching to the warm natural-soil feeling and his descriptions of the ugly phenomena of modern cities. He gave deep thought to the uprooting of homestead, which happened in the process of the rising of modern society. Meanwhile in the aspect of educational concept, he also recognized the artistic pursuit of Confucianism, which showed especially in his works created after the 1930s, in which he carried out inflexibly his art concept of Living For Others, pursued a unity of beauty and good, sought the model of constructing modern society, hoped that in the process of China's transition from ancient society to a modern one, traditional Chinese culture could be inherited using the concepts of good and beauty. Although he made himself stay in his little art world, Feng also showed his thinking for the country's stepping process to modernity, that is, the continual confirmation for Confucian thoughts and ideas in modern society.
Secondly, I want to interpret his modern understanding for his ultimate thinking of Buddhist meaning of life. Feng Zikai, both of whose grandmother and mother believed in Buddhism, began to accept Buddhist thought from early age. During the years from his childhood to teenager period, which was a time of turbulence and confusion, several of his brothers and sisters died because of congenially deficiency, malnutrition and emotional reasons, and additionally his teacher Li Shutong was there to guide him the way, so it acts harmoniously for Feng Zikai to choose Buddhist culture as his spiritual homestead, which was connect with the background of times. Yet his religious sentiment is not a concern for a future life, still it is the care for reality. Facing the losing of modern city culture and the crisis of the nation, he questioned about modernity in the childlike innocent world of Buddhism, which in his prose embodies inbeing and reality. First of all, he always psychologically retained children's nature far more strongly than other ordinary people. Feng Zikai upheld an absolute sincerity of childishness and threw all his interest and concern into the children's world. He made joy, anger, grief and happiness of the children and the marvelous world in their mind remarkably true to life in his works. From Feng Zikai's point of view, there was no hypocritical and cruel corrosion, no the fetters of fame and wealth and no suspicious and jealous depression. Children's world was the world which was innocent and pure. Feng Zi Kai felt as if he was visiting the world of children with obvious Buddhist color evidently, but he was familiar with fickleness of human friendships and went into the chronic illness of society deeply. Therefore, his adoring children's world and lashing out at the adult world interacted as both cause and effect. It was because he wasn't satisfied with the social phenomenon, in which everyone felt insecure and was unable even to fend for himself, and had inability to protest that he held himself aloof from the world and appreciate the detached human nature. However, his praise of childishness was not ignoring reality and blind, nor is it purely moral principles of the Buddha graphic, but including his sincere hope--less hypocrisy, craftiness and deception in the real world and more sincerity, honesty and loving care of childishness.
Meanwhile, I would also like to analyze Feng Zikai's pursuit of nation in his seeking Buddhism spirit, (a) The construction of modern nation in psychic combination of Buddhist "sharing sorrows together" and fighting against violence. Though state hate-hatred brought about painful feeling for him, it made him go into the society from study, which widened his horizon. When the Chinese nation was confronted with foreign aggression, inspired by the spirit of unity in the war of resistance, he abandoned the individual and altered his mood in his works to depression and discontentment from sadness. It could be seen clearly in his essays, "Returning to Yuanyuan Tang", "Taking leave of Yuanyuan Tang", "Informing Yuanyuan Tang's soul in heaven", "Care for the compatriots" and "China is like a big tree", (b) The combination of the Buddhist "exclusion of absurd" and patriotism. Feng Zikai's negation and criticism of the dark society in his essays maybe was based on the artist's characteristic childishness and integrity and his conscience being gradually influenced by Buddhism, not the political consciousness, but he implied the social pursuit of current society. The times rainstorm made him sober up from "the Buddha disciple" and "anchorite", and by that time, he had become a fearless writer. He showed his sober patriotism feelings in works such as "Story of suppressing bandits in Kouzhong", "Five Yuan's words" and "corrupt cat", (c) The combination of the Buddhist "encouraging healthy trends" and deep love of the new China. Here, I'd like to discuss that Feng Zikai combined the thought of the Buddhist "encouraging healthy trends" with the praise for new China. He expressed this kind of emotions in his essays such as "Your speech makes me up", "West lake sketch", "transforming into soil to nourish the flower" and "New Year's informal essay". But we should see clearly that Feng Zikai influenced by the Buddhist is in the free condition on political impact, and he didn't go to close politics for his own admiration of modern nation-state construction with full of passion. However, we were also undeniable Feng Zikai from his religious sentiments of the humanitarianism, and commended the modern nation-state construction in mind with his efforts.
Thirdly, appreciate Feng Zikai's spirit of the pursuit of freedom by using his interpretation to the concept of traditional Chinese Taoism culture. Feng Zikai adhering to the Taoist culture can be regarded as the modern derivative anti-allocated of modern society transition. His prose respects for sincere, personality, interest and world states, and the style of writing advocates the natural color and pursues plain light. All these characteristics embody what his has written in children, world, nature and memories of personal life experience and the creative process in the article. Feng Zikai is indifferent in fame and gain in his life. He is just honest, high hearted, and unique to draw painting and write articles. Although he has general readers and won certain reputation in the society, he still lived a simple life in the countryside as "richness and honor in my life as the floating clouds". He doesn't like government and not struggle for energy. The happy scenery is addicted to idle peaceful. In "To my children", "Bringing the diary", and "Children", "Sending A Bao out of the golden age", "The inspiration from the children" and other popular children's themes in his works, Feng Zikai envies the innocent and artless children, admiring their selfless and fearless and praising their simple and transparent hearts. He appreciates Tao Yuanming's life, sincerely indifferent to fame or gain, returning to nature and self entertainment with poems and liquors, which also flashes in the destitute escape and the wartime environment, such as " The fleeing of Art", "Good wine in Shangping" and "Meeting explosion in Yi Shan", and so on. Regardless to the harmony appreciation of the Confucian family ethics or the spirit writing of Taoist transcendence, they both have shown his cultural choice in society transition. He persevered in the traditional culture spirit in the process of moving toward modern society.
Feng Zikai was demonstrating his cultural pursue with his tranquil prose world and the indifferent cartoon. I put his explanation of traditional culture thoughts as the construction idea of my own paper, and looked forward to get rid of the repeated past traditional theory, making Feng Zikai return modern language situation to ponder.
As a late modern country, China was forced to go in for modernization. Thus in the process to modernization, traditional Chinese culture, which was ruptured, had to face the challenges from modern culture. In such a situation, China's intellectuals were confronted with the self-selection of cultural value, and Feng Zikai, who lived in China's transitional period of modernizing, had to face such a destiny. As an artist in modern China, Feng got involved in many fields, such as drawing, music, calligraphy, appreciation of epigraphy, architectural art, art theory, prose writing, classical poetry etc. and made some achievements in almost every field he covered. He was proficient in several foreign languages and translated many books. So his orientation of selection is really worth thinking about that a man who lived in modern language circumstances should choose to persist to traditional culture. Meanwhile he also expressed in his prose the reflection to modern city culture. Therefore, I compose my thesis with the starting point of Feng Zikai's different attitudes towards modern culture and traditional culture.
As a writer with a particular style of writing in modern Chinese literary world, Feng was influenced much more than other contemporary writers by traditional Chinese culture. His art style and art spirit are exactly the embodiment and continuation of traditional Chinese art spirit. In his work The Three-Storey Building, Feng put religion on the top. In China, there is no doubt that Buddhism and Taoism are religions. In fact, we can also look on Confucian culture as Confucianism, and maybe Feng Zikai' belief in traditional Chinese culture is his belief in religion. In modern language circumstances, we need to think about the modern implication showed in Feng's expression of traditional Chinese culture. Sometimes the expression is not direct, but is hidden behind more subtle descriptions. Whereas in his prose works he expressed after all his own value judgment and culture orientation.
Firstly, I focus on Feng's pursuing for modernity, which is showed in his continual descriptions of Confucian culture. Beginning from the formation of his Confucian thought, I research into his family education and the influences from three masters in the history of modern Chinese culture, namely Li Shutong, Xia Mianzun and Ma Yifu. He formed his main cultural thought during his study period. The three masters also lived in the transitional period to modern society, and their thought itself includes the thinking of tradition and modernity, which would certainly influence Feng Zikai's attitude towards culture. I therefore mainly discuss his confirmation for Confucian culture in the atmosphere of New Culture, and appreciate the traditional implication in his concept of Nation. Feng Zikai considered Nation as a unity of household, family and homestead, so he started from his descriptions of household and homestead, which he made the main body of his writing, to show his feeling for reality. In fact, all these should be looked on as descriptions for the Nation. On the early days when he entered the literary world, Feng focused just on family chores and romance, but from 1930s, as the political situation changed, he added in his prose the contents of facing up to society. Even his descriptions of homestead are connected to the destiny of the country. At the same time, Feng's feeling was deeply attached to the folk society. He had a critical attitude towards the different aspects of city culture, especially estrangement and isolation between people in modern cities. He showed his boredom and agony for the modern urbanites' using different means to isolate people from each other. All these could be seen from his attaching to the warm natural-soil feeling and his descriptions of the ugly phenomena of modern cities. He gave deep thought to the uprooting of homestead, which happened in the process of the rising of modern society. Meanwhile in the aspect of educational concept, he also recognized the artistic pursuit of Confucianism, which showed especially in his works created after the 1930s, in which he carried out inflexibly his art concept of Living For Others, pursued a unity of beauty and good, sought the model of constructing modern society, hoped that in the process of China's transition from ancient society to a modern one, traditional Chinese culture could be inherited using the concepts of good and beauty. Although he made himself stay in his little art world, Feng also showed his thinking for the country's stepping process to modernity, that is, the continual confirmation for Confucian thoughts and ideas in modern society.
Secondly, I want to interpret his modern understanding for his ultimate thinking of Buddhist meaning of life. Feng Zikai, both of whose grandmother and mother believed in Buddhism, began to accept Buddhist thought from early age. During the years from his childhood to teenager period, which was a time of turbulence and confusion, several of his brothers and sisters died because of congenially deficiency, malnutrition and emotional reasons, and additionally his teacher Li Shutong was there to guide him the way, so it acts harmoniously for Feng Zikai to choose Buddhist culture as his spiritual homestead, which was connect with the background of times. Yet his religious sentiment is not a concern for a future life, still it is the care for reality. Facing the losing of modern city culture and the crisis of the nation, he questioned about modernity in the childlike innocent world of Buddhism, which in his prose embodies inbeing and reality. First of all, he always psychologically retained children's nature far more strongly than other ordinary people. Feng Zikai upheld an absolute sincerity of childishness and threw all his interest and concern into the children's world. He made joy, anger, grief and happiness of the children and the marvelous world in their mind remarkably true to life in his works. From Feng Zikai's point of view, there was no hypocritical and cruel corrosion, no the fetters of fame and wealth and no suspicious and jealous depression. Children's world was the world which was innocent and pure. Feng Zi Kai felt as if he was visiting the world of children with obvious Buddhist color evidently, but he was familiar with fickleness of human friendships and went into the chronic illness of society deeply. Therefore, his adoring children's world and lashing out at the adult world interacted as both cause and effect. It was because he wasn't satisfied with the social phenomenon, in which everyone felt insecure and was unable even to fend for himself, and had inability to protest that he held himself aloof from the world and appreciate the detached human nature. However, his praise of childishness was not ignoring reality and blind, nor is it purely moral principles of the Buddha graphic, but including his sincere hope--less hypocrisy, craftiness and deception in the real world and more sincerity, honesty and loving care of childishness.
Meanwhile, I would also like to analyze Feng Zikai's pursuit of nation in his seeking Buddhism spirit, (a) The construction of modern nation in psychic combination of Buddhist "sharing sorrows together" and fighting against violence. Though state hate-hatred brought about painful feeling for him, it made him go into the society from study, which widened his horizon. When the Chinese nation was confronted with foreign aggression, inspired by the spirit of unity in the war of resistance, he abandoned the individual and altered his mood in his works to depression and discontentment from sadness. It could be seen clearly in his essays, "Returning to Yuanyuan Tang", "Taking leave of Yuanyuan Tang", "Informing Yuanyuan Tang's soul in heaven", "Care for the compatriots" and "China is like a big tree", (b) The combination of the Buddhist "exclusion of absurd" and patriotism. Feng Zikai's negation and criticism of the dark society in his essays maybe was based on the artist's characteristic childishness and integrity and his conscience being gradually influenced by Buddhism, not the political consciousness, but he implied the social pursuit of current society. The times rainstorm made him sober up from "the Buddha disciple" and "anchorite", and by that time, he had become a fearless writer. He showed his sober patriotism feelings in works such as "Story of suppressing bandits in Kouzhong", "Five Yuan's words" and "corrupt cat", (c) The combination of the Buddhist "encouraging healthy trends" and deep love of the new China. Here, I'd like to discuss that Feng Zikai combined the thought of the Buddhist "encouraging healthy trends" with the praise for new China. He expressed this kind of emotions in his essays such as "Your speech makes me up", "West lake sketch", "transforming into soil to nourish the flower" and "New Year's informal essay". But we should see clearly that Feng Zikai influenced by the Buddhist is in the free condition on political impact, and he didn't go to close politics for his own admiration of modern nation-state construction with full of passion. However, we were also undeniable Feng Zikai from his religious sentiments of the humanitarianism, and commended the modern nation-state construction in mind with his efforts.
Thirdly, appreciate Feng Zikai's spirit of the pursuit of freedom by using his interpretation to the concept of traditional Chinese Taoism culture. Feng Zikai adhering to the Taoist culture can be regarded as the modern derivative anti-allocated of modern society transition. His prose respects for sincere, personality, interest and world states, and the style of writing advocates the natural color and pursues plain light. All these characteristics embody what his has written in children, world, nature and memories of personal life experience and the creative process in the article. Feng Zikai is indifferent in fame and gain in his life. He is just honest, high hearted, and unique to draw painting and write articles. Although he has general readers and won certain reputation in the society, he still lived a simple life in the countryside as "richness and honor in my life as the floating clouds". He doesn't like government and not struggle for energy. The happy scenery is addicted to idle peaceful. In "To my children", "Bringing the diary", and "Children", "Sending A Bao out of the golden age", "The inspiration from the children" and other popular children's themes in his works, Feng Zikai envies the innocent and artless children, admiring their selfless and fearless and praising their simple and transparent hearts. He appreciates Tao Yuanming's life, sincerely indifferent to fame or gain, returning to nature and self entertainment with poems and liquors, which also flashes in the destitute escape and the wartime environment, such as " The fleeing of Art", "Good wine in Shangping" and "Meeting explosion in Yi Shan", and so on. Regardless to the harmony appreciation of the Confucian family ethics or the spirit writing of Taoist transcendence, they both have shown his cultural choice in society transition. He persevered in the traditional culture spirit in the process of moving toward modern society.
Feng Zikai was demonstrating his cultural pursue with his tranquil prose world and the indifferent cartoon. I put his explanation of traditional culture thoughts as the construction idea of my own paper, and looked forward to get rid of the repeated past traditional theory, making Feng Zikai return modern language situation to ponder.
引文
[1]广恰法师:《纪念丰子恺先生逝世8周年》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,164页。
[1]朱光潜:《缅怀丰子恺老友》,《朱光潜文集》第十卷,合肥:安徽教育出版社,1993年2月第1版,第477页。
[1][美]马泰·卡林内期库:《现代性的五副面孔》,北京:商务印书馆,2000年5月第1版,第69页。
[2]丰子恺:《丰子恺文集·文学卷二。为青年说弘一法师》,杭州:浙江文艺出版社,1992年版,第154页。
[1]冯友兰:《中国哲学史》,北京:中华书局,1961年新1版,附录:《原儒墨》,第28页。
[2]张立文、李廷平主编:《中外儒学比较研究》,上海:东方出版社1998年第1版,第14-17页。
[1]丰子恺:《先器识而后文艺--李叔同先生的文艺观》,丰陈宝、丰一吟编《丰子恺文集》文学卷二,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第533页。
[2]丰子恺:《我与弘一法师》,丰陈宝、丰一吟编《丰子恺文集》文学卷二,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第398页。
[3]陈星:《清空艺海--丰子恺新传》,太原:北岳文艺出版社,1998年11月第1版,第148页。
[4]朱光潜:《缅怀丰子恺老友》,《朱光潜文集》第十卷,合肥:安徽教育出版社,1993年2月第1版,第476页。
[5]丰子恺:《悼夏丐尊先生》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第234页。
[1]丰子恺:《悼夏丐尊先生》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第235页.
[2]丰一吟:《杭州缘》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第316页。
[3]丰子恺:《桐庐负喧》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第222页。
[1]陈星:《清空艺海--丰子恺新传》,太原:北岳文艺出版社,1998年11月第1版,第170—171页。
[1]梁漱溟:《东西方文化及其哲学》,上海商务印书馆,1922年版,第122页。
[2]陈嘉明 等著:《现代性与后现代性》,北京:人民出版社,2001年12月第1版,第73页。
[1]王西彦:《辛勤的播种者》,钟桂松、叶琦荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第72页。
[2]丰子恺:《〈人间相〉序》,丰陈宝、丰一吟编《丰子恺文集》艺术卷三,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第一版,第115页。
[3]丰子恺:《谈中国画》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第185页。
[1]丰子恺:《谈中国画》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第186页。
[2]司马长风:《“艺术的避难”》,1978年4月28日香港《明报》。
[3]丰子恺:《还我缘缘堂》,丰陈宝、丰一吟编,《丰子恺文集》文学卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第52页。
[1]丰子恺:《故乡》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第333—334页。
[2]丰子恺:《山水间的生活》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第12-15页。
[1]丰子恺:《楼板》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第130-132页。
[2]丰子恺:《邻人》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第242—244页。
[3]丰子恺:《告缘缘堂在天之灵》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第56—63页。
[4]丰子恺:《艺术必能建国》,丰陈宝、丰一吟编《丰子恺文集》艺术卷四,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第32页。
[1]邵洛羊:《挑灯风雨夜,往事从头说》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第62页。
[2]邵洛羊:《挑灯风雨夜,往事从头说》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第62页。
[1]罗成琰:《论丰子恺散文的佛教意蕴》,《湖南师大学报》,1990年第6期。
[1]谭桂林:《二十世纪中国文学与佛学》,安徽教育出版社,1999年版。
[1]此处参阅陈嘉明 等著:《现代性与后现代性》,人民出版社,2001年12月第1版,第116-123页。
[2]赖永海:《佛学与儒学》,杭州:浙江人民出版社,1992年版,第103页。
[1]李贽:《童心说》,《焚书》卷三,北京:中华书局,1975年版,第98页。
[1]丰子恺:《告母性》,丰陈宝、丰一吟编《丰子恺文集》艺术卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第79页。
[1]郁达夫:《中国新文学大系·散文二集导言》,良友图书印刷公司,1935年8月30日版,第50页。
[1]丰子恺:《华瞻的日记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第6页。
[2]丰子恺:《谈自己的画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第117页。
[1]丰子恺:《儿女》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第23页。
[2]丰子恺:《给我的孩子们》,http://reading.cersp.com/WeekReading/Classical/200606/1984.html。
[1]丰子恺:《读〈读缘缘堂随笔〉》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第234页。
[1]丰子恺:《辞缘缘堂》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第199页。
[2]丰子恺:《还我缘缘堂》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第50页。
[1]丰子恺:《辞缘缘堂》,《丰子恺自传》,南京:江苏文艺出版社,1996年7月第1版,第177页。
[2]丰子恺:《辞缘缘堂》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第192页。
[1]丰子恺:《辞缘缘堂》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第198页。
[2]丰子恺:《还我缘缘堂》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第52页。
[3]丰子恺:《还我缘缘堂》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第52页。
[1]丰子恺:《告缘缘堂在天之灵》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第169页。
[2]丰子恺:《告缘缘堂在天之灵》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第172页。
[3]丰子恺:《中国像棵大树》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第187页。
[1]丰子恺:《中国像棵大树》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第187页。
[2]丰子恺:《一饭之恩--避寇日记之一》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社、浙江教育出版社,1992年版,第655页。
[1]丰子恺:《口中剿匪记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第249页。
[1]丰子恺:《口中剿匪记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第249页。
[2]丰子恺:《口中剿匪记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第250页。
[1]丰子恺:《我的漫画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第252页。
[2]丰子恺:《我的漫画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第253页。
[3]丰子恺:《我的漫画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第254页。
[1]丰子恺:《胜读十年书》,《理论与创作》1998年第2期,第33页。
[2]丰子恺:《饮水思源》,《南通师专学报》1996年12月第12卷第4期,第17页。
[3]丰子恺:《饮水思源》,《丰子恺散文》,杭州:浙江文艺出版社,2001年版,第389-390页。
[1]丰子恺:《化作春泥更护花--参观江西革命根据地随笔》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第178页。
[2]丰子恺:《化作春泥更护花--参观江西革命根据地随笔》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第180页。
[3]丰子恺:《新年随笔》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第384页。
[1]陈嘉明 等著:《现代性与后现代性》,北京:人民出版社,2001年12月第1版,第160页。
[2]杨义:《道家文化对中国现代文学的影响》,《杨义文存》第四卷《中国现代文学流派》,北京:人民文学出版社,1998年第1版,第602页
[1]徐复观:《徐复观文集》第四卷,武汉:湖北人民出版社,2002年4月第1版,第41页。
[2]周作人:《中国新文学大系·散文一集导言》,赵家璧主编《中国新文学大系》,上海:良友图书印刷公司,1936年出版。
[3]谢兴尧:《回忆(逸经)与(逸文)》,《读书》1996年3期,北京:三联书店出版。
[4]陆云龙:《叙袁中郎先生小品》,朱东润主编《中国历代文学作品选》,上海古籍出版社,1980年第1版。
[1]丰子恺:《(率真集)序》,《丰子恺文集》艺术卷四,丰陈宝、丰一吟编,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第333页。
[2]司马长风:《中国新文学史》,香港:昭明出版社,1978年出版,第149页。
[3]丰子恺:《渐》,丰陈宝、丰一吟编《丰子恺文集》文学卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第516页。
[1]丰子恺:《白鹅》,丰陈宝、丰一吟编《丰子恺文集》文学卷二,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第161页。
[2]丰子恺:《家》,丰陈宝、丰一吟编《丰子恺文集》文学卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第436页。
[3]丰子恺:《谢谢重庆》,《丰子恺文集》文学卷一,丰陈宝、丰一吟编,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第175页。
[1]李渔:《闲情偶记·词曲》,《闲情偶记》,李渔著,北京:时代文艺出版社,2001年出版,第132页。
[2]丰子恺:《梦痕》,《丰子恺自传》,南京:江苏文艺出版社,1996年7月第1版,第5页。
[1]钱理群:《心灵的探寻》,上海:上海文艺出版社,1988年版,第68页。
[1]郁达夫:《中国新文学大系·散文二集导言》,上海:良友图书印刷公司,1935年8月30日版,第16页。
[2]转引自葛万福:《丰子恺散文选集·序言》,天津:百花文艺出版社,1991年3月,第10页。
[1]徐乃翔主编:《中国现代作家评传》,济南:山东教育出版社,1986年版。
[2]丰华瞻、殷琦编:《丰子恺研究资料》,银川:宁夏人民出版社,1988年版。
[3]谭桂林:《20世纪中国文学与佛学》,合肥:安徽教育出版社,1999年版。
[4]哈迎飞:《“五四”作家与佛教文化》,上海:三联书店,2002年版。
[5]杨曾文:《佛教的起源》,北京:今日中国出版社,1989年版。
[6]田真:《世界三大宗教与中国文化》,北京:宗教文化出版社,2002年版。
[7]丰子恺著、陈玉立选编:《丰子恺集》,沈阳:沈阳出版社,1998年版。
[8]丰一吟选编:《丰子恺散文》,杭州:浙江文艺出版社,2002年版。
[9]赵京华:《寻找精神家园》,北京:中国人民大学出版社,1989年版。
[10]张景涛主编:《佛教与中国文化》,上海:上海书店影印出版,1987年版。
[11]王志远主编:《佛教百问》,北京:今日中国出版社,1997年版。
[12]丰子恺:《丰子恺文集》,杭州:浙江文艺出版社,1987年版。
[13][日本]谷崎润一郎:《读缘缘堂随笔》,日本大阪创元社,1940年版。
[14]谭桂林:《记丰子恺与佛教文化的关系》,合肥:安徽教育出版社,1999年版。
[15]丰子恺:《缘缘随笔》,上海:开明出版社,1931年版。
[16]林非:《现代六十家散文札记》,天津:百花文艺出版社,1995年 版。
[17]丰一吟:《丰子恺随笔精编》,杭州:浙江文艺出版社,1996年版。
[18]王永生:《中国现代文论》,贵阳:贵州人民出版社,1996年版。
[19]丰一吟:《潇洒风神--我的父亲丰子恺》,上海:华东师范大学出版社,1998年版。
[20]刘勇:《中国现代作家的宗教文化情结》,北京:北京师范大学出版社,1998年版。
[21]严耀中:《中国宗教与生存哲学》,上海:上海学林出版社,1991年版。
[22]柳怡微:《中国文化史》,北京:东方出版中心,1988年版。
[23]钱穆:《庄老通辨》,北京:生活·读书·新知三联书店,2002年版。
[24]周群:《儒释道与晚明文学思潮》,上海:上海书店出版社,2000年版。
[25]徐复观:《徐复观文集》(1-5卷),武汉:湖北人民出版社,2002年版。
[26]陈星:《清空艺海--丰子恺新传》,太原:北岳文艺出版社,1998年版。
[27]朱晓江主编:《丰子恺论》,杭州:西泠印社,2000年版。
[28]陈星:《清凉世界--丰子恺艺术研究》,杭州:浙江文艺出版社,1996年版。
[29]陈星:《艺术大师之路丛书·丰子恺》,武汉:湖北美术出版社,2002年版。
[30]丰子恺:《丰子恺艺术随笔》,上海:上海文艺出版社,1999年版。
[31]司马长风:《中国新文学史》,香港:香港昭明出版社,1978年版。
[32]钟桂松、叶瑜荪编:《写意丰子恺》,杭州:浙江文艺出版社,1998年版。
[33]张立文、李廷平主编:《中外儒学比较研究》,上海:东方出版社,1998年版。
[34]冯友兰:《中国哲学史》,北京:中华书局,1961年版。
[35]葛兆光:《中国思想史》,上海:复旦大学出版社,1998年版。
[36]祝瑞开编:《儒学与21世纪中国》,北京:学林出版社,2001年版。
[37]膏怀瑾:《论语别裁》,上海:复旦大学出版社,1996年版。
[38]膏怀瑾:《孟子旁通》,上海:复旦大学出版社,1996年版。
[39]林非:《散文的使命》,桂林:漓江出版社,1992年版。
[40]俞元桂:《中国现代散文史》,济南:山东文艺出版社,1988年版。
[41]余树森:《中国现当代散文研究》,北京:北京大学出版社,1993年版。
[42][前苏联]维·什克洛夫斯基:《散文理论》,天津:百花洲文艺出版社,1994年版。
[43]胡经之、王岳川:《文艺学美学方法论》,北京:北京大学出版社,1994年版。
[44]吴宏聪:《中国现代文学与民族文化》,北京:首都师范大学出版社,1994年版。
[45]许志英、倪婷婷:《五四·人的文学》,南京:南京大学出版社,1992年版。
[46]乐黛云、王宁元:《西方文艺思潮与20世纪中国文学》,北京:中国社会科学出版社,1990年版。
[47]邵汉明:《儒道人生哲学》,长春:吉林教育出版社,1992年版。
[48]魏承思:《中国佛教文化论稿》,上海:上海人民出版社,1991年版。
[49]陈才俊:《生活的乐趣一现当代著名作家众人说》,汕头:汕头大学出版社,1997年版。
[50]黄修己:《20世纪中国文学史》,广州:中山大学出版社,1998年版。
[51]祁志祥:《佛教美学》,上海:上海人民出版社,1997年版。
[52]旷新年:《现代文学与现代性》,上海:上海远东出版社,1998年版。
[53]金元浦:《文学解释学》,长春:东北师范大学出版社,1997年版。
[54]浦震元:《中国艺术意境论》,北京:北京大学出版社,1995年版。
[55]宗白华:《美学散步》,上海:上海人民出版社,1982年版。
[56]朱光潜:《艺文杂谈》,合肥:安徽人民出版社,1981年版。
[57]丰陈宝、丰一吟主编:《丰子恺一文集》(七卷),杭州:浙江文艺出版社、浙江教育出版社,1992年版。
[58]刘英:《丰子恺图传》,武汉:湖北人民出版社,2005年版。
[59]方道:《散文学综论》,合肥:安徽教育出版社,2004年版。
[60]陈野:《缘缘堂主--丰子恺》,杭州:浙江人民出版社,2003年版。
[61]李泽厚:《中国思想史论》(三卷),合肥:安徽文艺出版社,1999年版。
[62]殷琦编:《丰子恺集外文选》,上海:上海三联书店,1992年版。
[63]谭桂林、龚毓敏:《当代中国文化与宗教》,长沙:岳麓书社,2006年版。
[64]汤一介:《佛教与中国文化》,北京:宗教文化出版社,1999年版。
[65]方立天:《佛教哲学》,北京:中国人民出版社,1991年版。
[66]谭桂林:《百年文学与宗教》,长沙:湖南教育出版社,2002年版。
[67]冯友兰:《一种人生观》,北京:中国人民大学出版社,2005年版。
[68]傅瑛:《昨夜星辰--中国现代散文研究》,合肥:安徽大学出版社,2004年版。
[69]陈昌文:《宗教·哲学·艺术》,北京:宗教文化出版社,1999年版。
[70]林非:《中国现代散文史稿》,北京:中国社会科学出版社,1981年版。
[71]李叔同:《索性做了和尚:李叔同作品及墨宝集》,上海:上海文化 出版社,2005年版。
[72]赵炎秋:《历史的选择与选择的历史》,长沙:湖南师范大学出版社,1999年版。
[73]徐国源:《丰子恺传》,北京:团结出版社,1999年版。
[1]朱光潜:《缅怀丰子恺老友》,《朱光潜文集》第十卷,合肥:安徽教育出版社,1993年2月第1版,第477页。
[1][美]马泰·卡林内期库:《现代性的五副面孔》,北京:商务印书馆,2000年5月第1版,第69页。
[2]丰子恺:《丰子恺文集·文学卷二。为青年说弘一法师》,杭州:浙江文艺出版社,1992年版,第154页。
[1]冯友兰:《中国哲学史》,北京:中华书局,1961年新1版,附录:《原儒墨》,第28页。
[2]张立文、李廷平主编:《中外儒学比较研究》,上海:东方出版社1998年第1版,第14-17页。
[1]丰子恺:《先器识而后文艺--李叔同先生的文艺观》,丰陈宝、丰一吟编《丰子恺文集》文学卷二,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第533页。
[2]丰子恺:《我与弘一法师》,丰陈宝、丰一吟编《丰子恺文集》文学卷二,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第398页。
[3]陈星:《清空艺海--丰子恺新传》,太原:北岳文艺出版社,1998年11月第1版,第148页。
[4]朱光潜:《缅怀丰子恺老友》,《朱光潜文集》第十卷,合肥:安徽教育出版社,1993年2月第1版,第476页。
[5]丰子恺:《悼夏丐尊先生》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第234页。
[1]丰子恺:《悼夏丐尊先生》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第235页.
[2]丰一吟:《杭州缘》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第316页。
[3]丰子恺:《桐庐负喧》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第222页。
[1]陈星:《清空艺海--丰子恺新传》,太原:北岳文艺出版社,1998年11月第1版,第170—171页。
[1]梁漱溟:《东西方文化及其哲学》,上海商务印书馆,1922年版,第122页。
[2]陈嘉明 等著:《现代性与后现代性》,北京:人民出版社,2001年12月第1版,第73页。
[1]王西彦:《辛勤的播种者》,钟桂松、叶琦荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第72页。
[2]丰子恺:《〈人间相〉序》,丰陈宝、丰一吟编《丰子恺文集》艺术卷三,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第一版,第115页。
[3]丰子恺:《谈中国画》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第185页。
[1]丰子恺:《谈中国画》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第186页。
[2]司马长风:《“艺术的避难”》,1978年4月28日香港《明报》。
[3]丰子恺:《还我缘缘堂》,丰陈宝、丰一吟编,《丰子恺文集》文学卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第52页。
[1]丰子恺:《故乡》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第333—334页。
[2]丰子恺:《山水间的生活》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第12-15页。
[1]丰子恺:《楼板》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第130-132页。
[2]丰子恺:《邻人》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第242—244页。
[3]丰子恺:《告缘缘堂在天之灵》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社,浙江教育出版社,1992年版,第56—63页。
[4]丰子恺:《艺术必能建国》,丰陈宝、丰一吟编《丰子恺文集》艺术卷四,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第32页。
[1]邵洛羊:《挑灯风雨夜,往事从头说》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第62页。
[2]邵洛羊:《挑灯风雨夜,往事从头说》,钟桂松、叶瑜荪编《写意丰子恺》,杭州:浙江文艺出版社,1998年第1版,第62页。
[1]罗成琰:《论丰子恺散文的佛教意蕴》,《湖南师大学报》,1990年第6期。
[1]谭桂林:《二十世纪中国文学与佛学》,安徽教育出版社,1999年版。
[1]此处参阅陈嘉明 等著:《现代性与后现代性》,人民出版社,2001年12月第1版,第116-123页。
[2]赖永海:《佛学与儒学》,杭州:浙江人民出版社,1992年版,第103页。
[1]李贽:《童心说》,《焚书》卷三,北京:中华书局,1975年版,第98页。
[1]丰子恺:《告母性》,丰陈宝、丰一吟编《丰子恺文集》艺术卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第79页。
[1]郁达夫:《中国新文学大系·散文二集导言》,良友图书印刷公司,1935年8月30日版,第50页。
[1]丰子恺:《华瞻的日记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第6页。
[2]丰子恺:《谈自己的画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第117页。
[1]丰子恺:《儿女》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第23页。
[2]丰子恺:《给我的孩子们》,http://reading.cersp.com/WeekReading/Classical/200606/1984.html。
[1]丰子恺:《读〈读缘缘堂随笔〉》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第234页。
[1]丰子恺:《辞缘缘堂》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第199页。
[2]丰子恺:《还我缘缘堂》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第50页。
[1]丰子恺:《辞缘缘堂》,《丰子恺自传》,南京:江苏文艺出版社,1996年7月第1版,第177页。
[2]丰子恺:《辞缘缘堂》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第192页。
[1]丰子恺:《辞缘缘堂》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第198页。
[2]丰子恺:《还我缘缘堂》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第52页。
[3]丰子恺:《还我缘缘堂》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第52页。
[1]丰子恺:《告缘缘堂在天之灵》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第169页。
[2]丰子恺:《告缘缘堂在天之灵》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第172页。
[3]丰子恺:《中国像棵大树》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第187页。
[1]丰子恺:《中国像棵大树》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第187页。
[2]丰子恺:《一饭之恩--避寇日记之一》,《丰子恺文集》(第5卷),杭州:浙江文艺出版社、浙江教育出版社,1992年版,第655页。
[1]丰子恺:《口中剿匪记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第249页。
[1]丰子恺:《口中剿匪记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第249页。
[2]丰子恺:《口中剿匪记》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第250页。
[1]丰子恺:《我的漫画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第252页。
[2]丰子恺:《我的漫画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第253页。
[3]丰子恺:《我的漫画》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第254页。
[1]丰子恺:《胜读十年书》,《理论与创作》1998年第2期,第33页。
[2]丰子恺:《饮水思源》,《南通师专学报》1996年12月第12卷第4期,第17页。
[3]丰子恺:《饮水思源》,《丰子恺散文》,杭州:浙江文艺出版社,2001年版,第389-390页。
[1]丰子恺:《化作春泥更护花--参观江西革命根据地随笔》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第178页。
[2]丰子恺:《化作春泥更护花--参观江西革命根据地随笔》,张品兴编选《丰子恺散文》,西安:太白文艺出版社,2005年1月第2版,第180页。
[3]丰子恺:《新年随笔》,《丰子恺经典作品选》,北京:当代世界出版社,2002年3月第1版,第384页。
[1]陈嘉明 等著:《现代性与后现代性》,北京:人民出版社,2001年12月第1版,第160页。
[2]杨义:《道家文化对中国现代文学的影响》,《杨义文存》第四卷《中国现代文学流派》,北京:人民文学出版社,1998年第1版,第602页
[1]徐复观:《徐复观文集》第四卷,武汉:湖北人民出版社,2002年4月第1版,第41页。
[2]周作人:《中国新文学大系·散文一集导言》,赵家璧主编《中国新文学大系》,上海:良友图书印刷公司,1936年出版。
[3]谢兴尧:《回忆(逸经)与(逸文)》,《读书》1996年3期,北京:三联书店出版。
[4]陆云龙:《叙袁中郎先生小品》,朱东润主编《中国历代文学作品选》,上海古籍出版社,1980年第1版。
[1]丰子恺:《(率真集)序》,《丰子恺文集》艺术卷四,丰陈宝、丰一吟编,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第333页。
[2]司马长风:《中国新文学史》,香港:昭明出版社,1978年出版,第149页。
[3]丰子恺:《渐》,丰陈宝、丰一吟编《丰子恺文集》文学卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第516页。
[1]丰子恺:《白鹅》,丰陈宝、丰一吟编《丰子恺文集》文学卷二,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第161页。
[2]丰子恺:《家》,丰陈宝、丰一吟编《丰子恺文集》文学卷一,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第436页。
[3]丰子恺:《谢谢重庆》,《丰子恺文集》文学卷一,丰陈宝、丰一吟编,杭州:浙江文艺出版社、浙江教育出版社,1992年6月第1版,第175页。
[1]李渔:《闲情偶记·词曲》,《闲情偶记》,李渔著,北京:时代文艺出版社,2001年出版,第132页。
[2]丰子恺:《梦痕》,《丰子恺自传》,南京:江苏文艺出版社,1996年7月第1版,第5页。
[1]钱理群:《心灵的探寻》,上海:上海文艺出版社,1988年版,第68页。
[1]郁达夫:《中国新文学大系·散文二集导言》,上海:良友图书印刷公司,1935年8月30日版,第16页。
[2]转引自葛万福:《丰子恺散文选集·序言》,天津:百花文艺出版社,1991年3月,第10页。
[1]徐乃翔主编:《中国现代作家评传》,济南:山东教育出版社,1986年版。
[2]丰华瞻、殷琦编:《丰子恺研究资料》,银川:宁夏人民出版社,1988年版。
[3]谭桂林:《20世纪中国文学与佛学》,合肥:安徽教育出版社,1999年版。
[4]哈迎飞:《“五四”作家与佛教文化》,上海:三联书店,2002年版。
[5]杨曾文:《佛教的起源》,北京:今日中国出版社,1989年版。
[6]田真:《世界三大宗教与中国文化》,北京:宗教文化出版社,2002年版。
[7]丰子恺著、陈玉立选编:《丰子恺集》,沈阳:沈阳出版社,1998年版。
[8]丰一吟选编:《丰子恺散文》,杭州:浙江文艺出版社,2002年版。
[9]赵京华:《寻找精神家园》,北京:中国人民大学出版社,1989年版。
[10]张景涛主编:《佛教与中国文化》,上海:上海书店影印出版,1987年版。
[11]王志远主编:《佛教百问》,北京:今日中国出版社,1997年版。
[12]丰子恺:《丰子恺文集》,杭州:浙江文艺出版社,1987年版。
[13][日本]谷崎润一郎:《读缘缘堂随笔》,日本大阪创元社,1940年版。
[14]谭桂林:《记丰子恺与佛教文化的关系》,合肥:安徽教育出版社,1999年版。
[15]丰子恺:《缘缘随笔》,上海:开明出版社,1931年版。
[16]林非:《现代六十家散文札记》,天津:百花文艺出版社,1995年 版。
[17]丰一吟:《丰子恺随笔精编》,杭州:浙江文艺出版社,1996年版。
[18]王永生:《中国现代文论》,贵阳:贵州人民出版社,1996年版。
[19]丰一吟:《潇洒风神--我的父亲丰子恺》,上海:华东师范大学出版社,1998年版。
[20]刘勇:《中国现代作家的宗教文化情结》,北京:北京师范大学出版社,1998年版。
[21]严耀中:《中国宗教与生存哲学》,上海:上海学林出版社,1991年版。
[22]柳怡微:《中国文化史》,北京:东方出版中心,1988年版。
[23]钱穆:《庄老通辨》,北京:生活·读书·新知三联书店,2002年版。
[24]周群:《儒释道与晚明文学思潮》,上海:上海书店出版社,2000年版。
[25]徐复观:《徐复观文集》(1-5卷),武汉:湖北人民出版社,2002年版。
[26]陈星:《清空艺海--丰子恺新传》,太原:北岳文艺出版社,1998年版。
[27]朱晓江主编:《丰子恺论》,杭州:西泠印社,2000年版。
[28]陈星:《清凉世界--丰子恺艺术研究》,杭州:浙江文艺出版社,1996年版。
[29]陈星:《艺术大师之路丛书·丰子恺》,武汉:湖北美术出版社,2002年版。
[30]丰子恺:《丰子恺艺术随笔》,上海:上海文艺出版社,1999年版。
[31]司马长风:《中国新文学史》,香港:香港昭明出版社,1978年版。
[32]钟桂松、叶瑜荪编:《写意丰子恺》,杭州:浙江文艺出版社,1998年版。
[33]张立文、李廷平主编:《中外儒学比较研究》,上海:东方出版社,1998年版。
[34]冯友兰:《中国哲学史》,北京:中华书局,1961年版。
[35]葛兆光:《中国思想史》,上海:复旦大学出版社,1998年版。
[36]祝瑞开编:《儒学与21世纪中国》,北京:学林出版社,2001年版。
[37]膏怀瑾:《论语别裁》,上海:复旦大学出版社,1996年版。
[38]膏怀瑾:《孟子旁通》,上海:复旦大学出版社,1996年版。
[39]林非:《散文的使命》,桂林:漓江出版社,1992年版。
[40]俞元桂:《中国现代散文史》,济南:山东文艺出版社,1988年版。
[41]余树森:《中国现当代散文研究》,北京:北京大学出版社,1993年版。
[42][前苏联]维·什克洛夫斯基:《散文理论》,天津:百花洲文艺出版社,1994年版。
[43]胡经之、王岳川:《文艺学美学方法论》,北京:北京大学出版社,1994年版。
[44]吴宏聪:《中国现代文学与民族文化》,北京:首都师范大学出版社,1994年版。
[45]许志英、倪婷婷:《五四·人的文学》,南京:南京大学出版社,1992年版。
[46]乐黛云、王宁元:《西方文艺思潮与20世纪中国文学》,北京:中国社会科学出版社,1990年版。
[47]邵汉明:《儒道人生哲学》,长春:吉林教育出版社,1992年版。
[48]魏承思:《中国佛教文化论稿》,上海:上海人民出版社,1991年版。
[49]陈才俊:《生活的乐趣一现当代著名作家众人说》,汕头:汕头大学出版社,1997年版。
[50]黄修己:《20世纪中国文学史》,广州:中山大学出版社,1998年版。
[51]祁志祥:《佛教美学》,上海:上海人民出版社,1997年版。
[52]旷新年:《现代文学与现代性》,上海:上海远东出版社,1998年版。
[53]金元浦:《文学解释学》,长春:东北师范大学出版社,1997年版。
[54]浦震元:《中国艺术意境论》,北京:北京大学出版社,1995年版。
[55]宗白华:《美学散步》,上海:上海人民出版社,1982年版。
[56]朱光潜:《艺文杂谈》,合肥:安徽人民出版社,1981年版。
[57]丰陈宝、丰一吟主编:《丰子恺一文集》(七卷),杭州:浙江文艺出版社、浙江教育出版社,1992年版。
[58]刘英:《丰子恺图传》,武汉:湖北人民出版社,2005年版。
[59]方道:《散文学综论》,合肥:安徽教育出版社,2004年版。
[60]陈野:《缘缘堂主--丰子恺》,杭州:浙江人民出版社,2003年版。
[61]李泽厚:《中国思想史论》(三卷),合肥:安徽文艺出版社,1999年版。
[62]殷琦编:《丰子恺集外文选》,上海:上海三联书店,1992年版。
[63]谭桂林、龚毓敏:《当代中国文化与宗教》,长沙:岳麓书社,2006年版。
[64]汤一介:《佛教与中国文化》,北京:宗教文化出版社,1999年版。
[65]方立天:《佛教哲学》,北京:中国人民出版社,1991年版。
[66]谭桂林:《百年文学与宗教》,长沙:湖南教育出版社,2002年版。
[67]冯友兰:《一种人生观》,北京:中国人民大学出版社,2005年版。
[68]傅瑛:《昨夜星辰--中国现代散文研究》,合肥:安徽大学出版社,2004年版。
[69]陈昌文:《宗教·哲学·艺术》,北京:宗教文化出版社,1999年版。
[70]林非:《中国现代散文史稿》,北京:中国社会科学出版社,1981年版。
[71]李叔同:《索性做了和尚:李叔同作品及墨宝集》,上海:上海文化 出版社,2005年版。
[72]赵炎秋:《历史的选择与选择的历史》,长沙:湖南师范大学出版社,1999年版。
[73]徐国源:《丰子恺传》,北京:团结出版社,1999年版。