Abstract
ABSTRACTThere is a significant amount of images with multiple meanings from Chan-Buddhism in Du Fu’s poetry. Representative among them are ‘moon,’ ‘rain,’ ‘pearl,’ ‘bell,’ ‘lamp,’ ‘three carriages and white ox carriage,’ ‘tiger,’ ‘dragon, elephant and poor son,’ ‘golden scalpel,’ ‘mirror,’ ‘clearly cool and irritated hot.’ These images not only enable Du Fu to write in the classic style of poetry, where simple images have great significance, but also consciously employs Chan-Buddhist imagery to communicate this connection to the reader. In order to understand the meaning of these images, this article examines Du Fu’s life and the contents of his poems. Du Fu was familiar with Mahāyāna philosophy, and always admired and remained close to monasteries and eminent monks. In his later years, he recognized the Middle Way (madhyamā-pratipad), cultivated Buddhist wisdom, and was more inspired in his works of poetry.
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