As a kind of ideology, poetry creation is restrained and influenced by the political thought, philosophy, philosophy, culture and other aspects of the society where the poet lived without exception. These influences are complex and involve multiple aspects. They not only affect the poet's world outlook and life attitude, but also affect his cultural psychology and emotional purport. More importantly, they affect the poet's creation, and the social mindset and aesthetic trend in a specific era. Wang Wei is a man with rich knowledge, twists and turns, and ups and downs in his life. He received orthodox Confucian culture and education since his childhood, and learned Buddhism and paid respect for Buddha when he was young, winning him the title of Poem Buddha. In the second half of his life, his poems gradually began to embody the ideological core of Taoism. Wang Wei was a Confucian, paid respect for Buddha but he was not a monk. He followed the Taoism but he was not a Taoist. By looking at his poems and analyzing them from different themes and creation times, it can be see that when the ideal that he focused on as a “social person” collided with the reality, he dispelled such collision with the “nature” and “original aspiration” of Buddhism and Taoism. From a certain point of view, Wang Wei represented the mainstream cultural spirit of China. He focused on the objects gradually from the outside to the inside, and then completes the process of “introversion transformation” from “social person” to “natural person” and then to self “original aspiration”. This process was also the process of the integration of Confucianism, Buddhism and Taoism and the formation of “introversion transformation” culture.

Extensive researches into the meaning of the famous Tang poem On Mission to the Frontier have achieved success for years, but it still remains several questions. On the one hand, On Mission to the Frontier has been selected for different poetry anthologies from the Tang Dynasty to the Qing Dynasty. And it brings four different texts, which are “銜命辭天闕”, “向”, “鴻” and “吏”, and the reason why they come into being should be figured out. On the other hand, the interpretation of “屬國” and “孤煙” and the main idea of On Mission to the Frontier are not clear and definite, so they also need to be differentiated and analysed.

본고는 한국과 중국이라는 국경의 한계를 불문하고 양국의 시인들이 각자 마주한 인생의 고뇌를 해결한 양상을 살펴보는 데에 목적을 두고 있다. 이에 중국 唐代와 한국 新羅時代의 문인 王維와 崔致遠의 禪詩를 고찰 대상으로 삼아 그들의 인생과 사상을 앞서 살펴보고, 이 어서 그들이 구현한 창작 세계를 선 수행(習禪)과 시 창작(詩作)의 측면에서 살펴보았다. 그 결과 상이한 시공간을 살았음에도 불구하고, 두 시인 모두 인간적 방황과 고뇌를 존재의 실 상에 관한 선적 가르침과 대자연을 향한 회귀에서 해결하였음을 발견하였다. 그리고 그러한 선 체험적 깨달음(禪悟)이 시 작품에 공통적으로 체현되고 있음을 알 수 있었다. 양국 선시에 내재된 선사상의 보편적 특성과 시 창작 활동의 선수행적 가치에 대해 논의를 시도한 본고의 고찰이 차후에 진행될 선시 관련 연구에 일조할 수 있을 것이라 기대한다.

人们在谈到盛唐时期的诗人时，常将王维誉为“诗佛”，与“诗仙”李白、“诗圣”杜甫齐名。这一方面表明盛唐诗人具有的独特风格，另一方面也可以看成是深厚地体现出盛唐一代诗人们在诗歌创造和生活中，各以儒教、道教、佛教为代表的宗教性特征。 王维不仅是富有艺术灵感的诗人，凝聚了绘画、音乐、书法等盛唐文化音序结晶的人物，也是诚恳信佛的佛教徒。作为一代诗坛领袖诗人，而虔信的佛教信徒，王维在山水田园诗歌中很突出地表现自己对禅理的深心体悟和悟禅的境界。因此，王维生前已经有了“当代诗匠，又精佛理”之誉。而且王维被后人称为“诗佛”，与“诗仙”李白、“诗圣”杜甫齐名，也的确是说明王维的诗歌创作因为信佛而获得独特审美特点。 本论文的重点在于王维作为“诗佛”的诗歌创作与其诗歌世界，就是王维作为佛家徒的宗教生活与作为诗人的诗歌创作之间的影响关系和在他的山水诗中蕴含的佛理色彩。 众所周知，王维是代表中国山水田园诗派的人物。王维在诗歌创作中常以自然山水为媒介，阐述了平淡而具有深厚禅趣的山水诗。其实这些山水景物都是他自己内心世界的映衬。他所描写山水田园，不是纯粹客观的自然美，而是修禅过程中得到自己独特的审美方式来关照的自己心目中的山水田园。但是我们要注意，这决不是说王维用自己的主观情感来歪曲客观自然景物，而是把自己的感性世界通过理性来升华为更高层次、更纯粹的感性世界。这就是“以物观物”的审美关照。通过这样的“以观物观”的审美关照描写的山水田园，其实更逼近客观山水田园。因为“以观物观”中诗人也已经同化为自然的一部分。 因此，王维的山水诗歌中很好地结合了对自然景物的描写和宗教哲理，创造的新的艺术境界美，特别对唐诗的意境美的发展提供了很成功的例子。从这样的角度来看，可以说王维的诗歌创作和其诗歌境界具有开创新风气之贡献。尤其，王维的山水诗，对后来诗歌与禅结合的山水诗发展和佛僧的诗歌创作起了很重要的作用。