唐詩(shī)的棲息地

張青春

在唐代，天臺(tái)山因其山岳之神秀和人文淵源之獨(dú)特而成為當(dāng)時(shí)人眼中的“詩(shī)和遠(yuǎn)方”。

當(dāng)時(shí)，前往天臺(tái)山的有一個(gè)詩(shī)人群體，他們從長(zhǎng)安出發(fā)至揚(yáng)州，然后循著大運(yùn)河，跨錢(qián)塘江，經(jīng)浙東運(yùn)河，沿曹娥江和剡溪，終至天臺(tái)山，這就是因天臺(tái)山這個(gè)目的地而產(chǎn)生的唐詩(shī)之路。

這個(gè)詩(shī)人群體，是一個(gè)不折不扣的江湖。既有春風(fēng)得意的朝廷大員，如曾兩度拜相的李德裕、臺(tái)州刺史鄭薰、浙東觀(guān)察使元稹，也有仕途失意，來(lái)此遣懷的李白和孟浩然，還有煉丹方士柳泌，工于詩(shī)而無(wú)功名之念的周樸;既有歸隱山林的隱士，如徐凝、陳寡言和劉長(zhǎng)卿等，也有早年為僧后來(lái)還俗的賈島和周賀，或初為道士后來(lái)科考的曹唐，也有真正的得道高僧，如皎然等。此外，還有未至天臺(tái)山，但是憑想象書(shū)寫(xiě)天臺(tái)山的唐明皇李隆基，天臺(tái)山本地高僧拾得和寒山等人。他們留下的關(guān)于天臺(tái)山的詩(shī)歌中，天臺(tái)山的魅力山水、佛道文化都是反復(fù)出現(xiàn)的主題，這些描寫(xiě)和敘述，為今人了解當(dāng)時(shí)的天臺(tái)山提供了重要的證據(jù)，也為今天的天臺(tái)山注入了文學(xué)的魅力。

望 海

天臺(tái)山景色的綺麗雄奇，吸引著唐朝詩(shī)人們來(lái)此遣興抒懷。孟浩然在《自洛之越》中說(shuō)：“山水尋吳越”“欲尋華頂去”;李郢更是直接，在《重游天臺(tái)》中寫(xiě)道：“南國(guó)天臺(tái)山水奇?！背颂岬教炫_(tái)山，詩(shī)人們也專(zhuān)門(mén)描寫(xiě)石梁飛瀑、華頂峰、國(guó)清寺、赤城山、靈溪、桃源洞、桐柏觀(guān)、玉霄山、瓊臺(tái)雙闕和寒巖等地。

從天臺(tái)山可以望海，擁有雄奇豐富想象力的李白看到了“云垂大鵬翻，波動(dòng)巨鰲沒(méi)。風(fēng)潮爭(zhēng)洶涌，神怪何翕忽”，而善于描寫(xiě)現(xiàn)實(shí)的杜荀鶴則看到了“共僧巖上坐，見(jiàn)客海邊行。野色人耕破，山根浪打鳴”。由山看海也有技巧，詩(shī)僧皎然指點(diǎn)朋友重鈞上人，認(rèn)為云彩正在消失之際最適合看海，即“海容云正盡”;而看山景則宜在雨過(guò)天晴之時(shí)，正所謂“山色雨初晴”。

天臺(tái)山的高度也是詩(shī)人們描寫(xiě)的對(duì)象，最有名的莫過(guò)于李白的“天臺(tái)四萬(wàn)八千丈，對(duì)此欲倒東南傾”了。蔡希逸對(duì)此作了更夸張的描寫(xiě)：“山上天將近，人間路漸遙?！币馑际?，天臺(tái)山與天相接，離人間太遠(yuǎn)了。章八元的詩(shī)句“八重巖崿疊晴空，九色煙霞繞洞宮”，除了描寫(xiě)天臺(tái)山的高，“九色煙霞”也描寫(xiě)了天臺(tái)山的幽奇之美。華頂峰是天臺(tái)山最高峰，四周群山向而拱之，層層相裹，狀如百葉蓮花，華頂正當(dāng)花之頂，故名“華頂”，詩(shī)僧寒山閑游華頂峰，有“四顧晴空里，白云同鶴飛”的描述。

賞 瀑

天臺(tái)山各處的瀑布盡顯水的奇趣。

一是天臺(tái)山大瀑布，曹松專(zhuān)門(mén)寫(xiě)了《天臺(tái)瀑布》一詩(shī)，其中“噴向林梢成夏雪，傾來(lái)石上作春雷”，用夏雪和春雷形象地描寫(xiě)了天臺(tái)山大瀑布的顏色和聲勢(shì)，讓人如見(jiàn)其景，如聞其聲。

第二是石梁瀑布，集奇石瀑布為一體，為詩(shī)人們所向往，蔡希逸詩(shī)“誰(shuí)當(dāng)云里見(jiàn)，知欲渡仙橋”極言其高，而李郢“石橋危險(xiǎn)古來(lái)知”則極言其險(xiǎn)。寒山詩(shī)中，“瀑布千丈流，如鋪練一條。下有棲心窟，橫安定命橋”，夸張地描寫(xiě)了石橋和飛瀑。另外，劉昭禹描寫(xiě)靈溪瀑布的“云開(kāi)孤月上，瀑?lài)娨簧胶币痪湟差H有氣勢(shì)。

除了瀑布，就是映帶左右的溪水。徐凝在夜晚的月色中獨(dú)自在山中行走，聽(tīng)到“石梁夜溪聲”。桐柏山中的靈溪也在唐詩(shī)中時(shí)有提及，許渾的詩(shī)句“山多水不窮，一葉似漁翁。鳥(niǎo)浴寒潭雨，猿吟暮嶺風(fēng)”，非常寫(xiě)實(shí)地描寫(xiě)了靈溪的景色。

佛教的“天臺(tái)宗”和道教的“南宗”都創(chuàng)于天臺(tái)山，智者大師曾在天臺(tái)山修行，創(chuàng)天臺(tái)宗，桐柏山桐柏觀(guān)是道教南宗所在地。

在隋唐時(shí)代，天臺(tái)宗和桐柏觀(guān)都極受統(tǒng)治者重視，隋代皇帝曾多次請(qǐng)智顗（yi）大師出山傳戒。唐代幾任皇帝多次接見(jiàn)道士司馬承禎，佛教和道教在隋唐時(shí)代的地位可見(jiàn)一斑。另外，詩(shī)人賈島和周賀曾為僧人，詩(shī)人曹唐曾是道士，可見(jiàn)當(dāng)時(shí)佛教、道教的普及程度。佛道文化是天臺(tái)山詩(shī)歌中以各種形式反復(fù)出現(xiàn)的主題，也就不奇怪了。

詩(shī)人們追求道家的長(zhǎng)生和成仙。孟浩然在詩(shī)中說(shuō)，“紛吾遠(yuǎn)游意，樂(lè)彼長(zhǎng)生道”;李白則想“攀條摘朱實(shí)，服藥煉金骨。安得生羽毛，千春臥蓬闕？”希冀通過(guò)服藥煉骨，得道而飛升成仙。

另外，很多詩(shī)歌在標(biāo)題和內(nèi)容里出現(xiàn)或僧或道的人名，如皎然的《送重鈞上人游天臺(tái)》，張祜的《憶游天臺(tái)寄道流》，賈島《送僧歸天臺(tái)》，許渾《早發(fā)中巖寺別契直上人》，李隆基《王屋山送道士司馬承禎還天臺(tái)》，方干《贈(zèng)天臺(tái)葉尊師》，這些詩(shī)在標(biāo)題中就有了或僧或道的名字。

在詩(shī)歌的內(nèi)容里，孟浩然在《尋天臺(tái)山》中提到“吾友太乙子”，李郢《重游天臺(tái)》有“誰(shuí)見(jiàn)生公獨(dú)坐時(shí)”，賈島《送僧歸天臺(tái)》有“應(yīng)齊智者蹤”，孟浩然《宿天臺(tái)桐柏觀(guān)》有“玄蹤得二老”句。這不但說(shuō)明當(dāng)時(shí)文人和僧人道人的交往比較密切，同時(shí)也表明佛道文化深入其心。

詩(shī)人們游覽天臺(tái)山的寺廟道觀(guān)，也寫(xiě)出了很多語(yǔ)言?xún)?yōu)美、引人遐思的詩(shī)歌。皎然是僧人，從他寫(xiě)的《宿桐柏觀(guān)》可以推測(cè)，僧人夜宿道觀(guān)，且對(duì)道觀(guān)仙風(fēng)道骨、圣地仙境氣象予以肯定，說(shuō)明了當(dāng)時(shí)天臺(tái)山佛道共融雙棲的狀況。國(guó)清寺依據(jù)天臺(tái)宗創(chuàng)始人智顗親手所畫(huà)的樣式所建，初名天臺(tái)寺，因此詩(shī)中普遍將國(guó)清寺和天臺(tái)寺共稱(chēng)。劉長(zhǎng)卿在《送臺(tái)州李使君，兼寄題國(guó)清寺》中稱(chēng)其為“應(yīng)真飛錫處”;賈島在《送僧歸國(guó)清寺》中，贊其為“妙宇”（“妙宇研磨講”）;周賀用“杯度寺”代稱(chēng)國(guó)清寺（“一宿五峰杯度寺”）。天臺(tái)寺及其周邊的優(yōu)美景色也深深地吸引了詩(shī)人們，國(guó)清寺前的十里松林幾乎成了國(guó)清寺的標(biāo)志，如李白用一貫的夸張手法寫(xiě)道：“五峰轉(zhuǎn)月色，百里行松聲”，賈島用“石澗雙流水，山門(mén)九里松”對(duì)此作了概括，專(zhuān)門(mén)提到了國(guó)清寺山門(mén)兩側(cè)的溪水，皮日休也有“十里松門(mén)國(guó)清路，飯?jiān)撑_(tái)上菩提樹(shù)”的句子。天臺(tái)寺的景色給詩(shī)人帶來(lái)了閑情逸致，杜荀鶴寫(xiě)道：“一到天臺(tái)寺，高低景旋生。共僧巖上坐，見(jiàn)客海邊行。野色人耕破，山根浪打鳴。忙時(shí)向閑處，不覺(jué)有閑情?！逼湟咕耙沧屖孔拥男陌察o下來(lái)，如劉昭禹寫(xiě)道，“天臺(tái)山下寺，冬暮景如屏。樹(shù)密風(fēng)長(zhǎng)在，年深像有靈。高鐘疑到月，遠(yuǎn)燒欲連星。因共真僧話(huà)，心中萬(wàn)慮寧。”有時(shí)國(guó)清寺的景色也給游子帶來(lái)故園之思，如周賀寫(xiě)道“幽鳥(niǎo)背泉棲靜境，遠(yuǎn)人當(dāng)燭想遺文。暫來(lái)此地歇?jiǎng)谧悖麛喙噬綔婧澹╢én）?！?/p>

天臺(tái)山是道教圣地，加上唐代道教最受重視，道教的影響在描寫(xiě)天臺(tái)山的唐詩(shī)中俯拾皆是，經(jīng)常出現(xiàn)的有桐柏觀(guān)、靈溪觀(guān)等。唐明皇送司馬承禎歸天臺(tái)，稱(chēng)桐柏觀(guān)為紫府，稱(chēng)司馬承禎為“賢士”“逸人”和“幽棲者”。孟浩然曾造訪(fǎng)桐柏觀(guān)，詩(shī)中寫(xiě)道：“息陰憩桐柏，采秀弄芝草。鶴唳清露垂，雞鳴信潮早。愿言解纓絡(luò)，從此去煩惱。高步陵四明，玄蹤得二老”。其中“芝草”“鶴唳”“去煩惱”，充滿(mǎn)了道家的意象，“二老”即老子和老萊子，是道教祖師，都活了100多歲，孟浩然非常羨慕二人的長(zhǎng)壽之道。周樸描寫(xiě)的桐柏觀(guān)就更有動(dòng)感，“東南一境清心目，有此千峰插翠微。人在下方?jīng)_月上，鶴從高處破煙飛。巖深水落寒侵骨，門(mén)靜花開(kāi)色照衣。欲識(shí)蓬萊今便是，更于何處學(xué)忘機(jī)”。寫(xiě)桐柏觀(guān)清人心目、千峰翠微、沖月而上、破煙鶴飛，巖深水落、水寒侵骨，門(mén)靜花開(kāi)、花光照衣，將桐柏觀(guān)的高曠、雄渾、深邃、幽靜描繪的無(wú)以復(fù)加。鄭薰帶著一家人游覽桐柏觀(guān)，寫(xiě)出了“數(shù)里踏紅葉，全家穿白云”的詩(shī)句，和周樸的描寫(xiě)有異曲同工之妙。

除了描繪山水和記錄文化，天臺(tái)山唐詩(shī)還忠實(shí)地記錄了當(dāng)時(shí)天臺(tái)山的物產(chǎn)、傳說(shuō)和當(dāng)時(shí)隱居者的生活，具有一定的史料價(jià)值，讀來(lái)別有興味。李敬方在《天臺(tái)晴望》中寫(xiě)道：“林果黃梅盡，山苗半夏新”，這說(shuō)明當(dāng)時(shí)黃梅和半夏都是天臺(tái)山的重要物產(chǎn)。多位詩(shī)人還提到琪樹(shù)，如李紳專(zhuān)門(mén)寫(xiě)詩(shī)，表達(dá)了對(duì)琪樹(shù)的喜愛(ài)之情，詩(shī)人的描寫(xiě)非常認(rèn)真，不像是在作偽，可能真有這種樹(shù)存在。陸龜蒙和李德裕則專(zhuān)門(mén)寫(xiě)詩(shī)描繪華頂杖和金松。另外，劉晨阮肇遇仙的浪漫傳說(shuō)多次出現(xiàn)在詩(shī)中，元稹在《桃源洞》詩(shī)中發(fā)問(wèn)：“桃花飛盡東風(fēng)起，何處消沉去不來(lái)？”桃花飛盡，不見(jiàn)仙人，為這首詩(shī)增添了理趣。詩(shī)人曹唐寫(xiě)了組詩(shī)，再現(xiàn)了神人戀愛(ài)、悲歡離合之全過(guò)程，使神話(huà)更為優(yōu)美，詩(shī)句“洞里有天春寂寞，人間無(wú)路月茫?！薄疤一魉廊辉冢灰?jiàn)當(dāng)時(shí)勸酒人”，讀來(lái)讓人蕩氣回腸，為之感嘆。另外，陳寡言、徐凝和劉長(zhǎng)卿的詩(shī)歌反映了當(dāng)時(shí)隱士的生活風(fēng)貌，陳寡言詩(shī)《玉霄山居》云：“醉臥茅堂不閉關(guān)，覺(jué)來(lái)開(kāi)眼見(jiàn)青山。松花落處宿猿在，麋鹿群群林際還”，描述了隱居者悠然的生活。

閱讀唐人天臺(tái)山詩(shī)歌，有種夢(mèng)回唐朝的穿越感，仿佛在和詩(shī)人一起在天臺(tái)寺的燈光下閱讀，一起看石梁飛瀑，一起穿云踏葉而來(lái)，一起看琪樹(shù)飛花，一起走過(guò)十里松林大道，一起和他們追尋長(zhǎng)生之道。唐代詩(shī)人在天臺(tái)山游歷和生活的風(fēng)貌，都在這些詩(shī)中記錄了下來(lái)。天臺(tái)山的美麗和神圣在唐詩(shī)中有了一個(gè)詩(shī)意的棲息地，唐詩(shī)也因其文學(xué)地位為天臺(tái)山增添了光彩，從而使天臺(tái)山深深地刻上了唐詩(shī)的烙印。天臺(tái)山的美和唐詩(shī)的美互相映照，相得益彰。今人如果不讀天臺(tái)山唐詩(shī)，借古人之眼來(lái)看天臺(tái)山，則難盡其妙，因?yàn)槊總€(gè)山峰，每個(gè)洞穴，每個(gè)瀑布，每棵樹(shù)木，不是死物，而是有文化傳承的。

In as early as the Tang Dynasty， Mt. Tiantai already enjoyed an established fame for its holy mystery and epic beauty as well as its rich cultural connotation. In the eye of the romanticists at that time， the mist-wrapped mountaintop was the Elysium.

Among the mountains admirers were many poets who set off from Changan， the capital city of Tang， on a long journey that took them to Yangzhou and many places along the Grand Canal and eventually into the mountainous vistas of the Tiantai area. The route is romanticized by cultural scholars today as the “Road of Tang Poetry”.

The long list of Mt. Tiantais fans during the Tang Dynasty includes Li Bai， Meng Haoran， Jia Dao， Zhou He， etc. There were also lesser-known names such as Xu Ning， Chen Guayan， Liu Changqing， Cao Tang， just to name a few. Li Longji， Emperor Xuanzong of Tang， never got a chance to actually visit the mountain， but he released his yearning for the wonderland by extolling the gorgeous scenery out of his imagination. The mountains religious elements are also mentioned a lot in the Tang poems.

In one of his poems， Meng Haoran ranked the Huading Peak of Mt. Tiantai as the finest in the natural landscapes of the Jiangnan regions. Li Ying， a late Tang poet， had no mood for understatement in his . “The mountains and rivers in Tiantai are second to none，” he concluded.

As Mount Tiantai is near the sea， the scenic magnificence of the mountain area naturally includes the beauty of the sea， which appealed to the Tang romanticists and gave them lots of inspiration. “Sea” is mentioned in many poems of the Tang， either in a purely romantic tone by Li Bai or in a more realistic manner by Du Xunhe. Monk Jiaoran even shared his theory with his friend about the right timing of capturing the most beautiful moments of the sea. The best time to admire the seascape is when the sunset glow is fading， he advised.

The sheer height of the mountain impressed Li Bai and Cai Xiyi， the latter “complaining” that “the mountain is so close to the heaven that it is too elusive for earthly existence”.

The mountain area is strewn with cascading waterfalls in varying styles. Cao Songs? describes the colors of the waterfall spectacle as the summer snow and compares the power of the waterfalls with spring thunders. The mountains waterfall vista is represented by the scenery in Shiliang， where the waters are set in an awe-inspiring backdrop of a weather-beaten stone bridge built treacherously in between two cliffs.

In sharp contrast to the ghostly waterfalls and cloud-clad cliffs is babbling crooks streaming down valleys and meandering in the depths of forests. It is easy to imagine how the poet Xu Ning was carried away when taking a random walk in breathtakingly beautiful scenery under the moonlight. “Beautiful waters are everywhere，” Xu Hun wrote in his poem that vividly describes the mesmerizing beauty of the Lingxi River in the Tongbai Mountain， part of Mount Tiantai region.

Mt. Tiantai is the birthplace of the Tiantai sect of Buddhism and the South sect of Taoism， with the core doctrines put together by Master Monk Zhizhe in his years living up in the mountain. Jia Dao and Zhou He， both known for their poetry， were also reverent monks. Buddhism and Taoism is therefore a very important theme in the “Tiantai poetry” of Tang. In many poems depicting the landscapes of Tiantai， readers today can find many clues suggesting the friendship and interaction between the Tang men of letters and religious people.

Poems about Tiantai also show the poets were enchanted by the architectural charm in the mountain area. The Guoqing Temple， together with the dainty grace of its surroundings， was an endless source of inspiration to poets. The pine forests that stretched miles in front of the main entrance of the temple made their way into poems by Li Bai， Jia Dao and many others. The nocturnal tranquility and mystic atmosphere enriched by the moonlight filled the heart of Liu Shaoyu with enormous solace and soft sentiment. “The wind sweeps across the dense leaves， as if a celestial being is wandering around...and all the anxieties in me disappear...” he wrote.

Taoism is an important part of the “Tiantai poetry” of Tang， as can be seen in the poems by Meng Haoran， Zhou Pu， and Zheng Xun.

The Tang poems are valuable materials for people today to take a peek into the social habits and custom， fauna and flora， and local specialties of the Tiantai region. In many poems， the lifestyle of the hermits living in Tiantai in the Tang period is vividly recorded.

In a word， the Tang period of China saw the majestic beauty of the mountains in Tiantai meet its ideal literary match， as if this ethereal world and the Tang romanticism were made just for each other.