Abstract: The Vimalakīrtinirdes'a is one of the classic scriptures of Mahāyāna Buddhism that expounds the thought of “nonduality,” in which the image of “Vimalakīrti's ten-foot-square hut” epitomizes such Buddhist teachings as “the nonduality of form and emptiness,” and “the nonduality of smallness and largeness.” This paper intends to investigate how the image of “Vimalakīrti's ten-foot-square hut” finds its way of acculturation into San Francisco Poetry Renaissance, how the thought of “nonduality” embedded in the Vimalakīrtinirdes'a is then understood by American poets represented by Rexroth, Snyder and Whalen, and how such poets poetically express this thought through rewriting and re-interpreting the image of “Vimalakīrti's ten-foot-square hut” in their literary production. Through textual analysis and archaeological literature survey, this paper argues that the poets' varied interpretations of the image of “Vimalakīrti's ten-foot-square hut” evolve from cultural misreading, foreignized rewriting to localized rewriting, which, together with their imitation of Vimalakīrti, a Buddhist layman, in their lifestyles, not only contribute to the innovation in their poetic contents, but also introduce a new mode of nondual thinking and nondual cultural vision into the dualism-afflicted American society.

Key words: San Francisco Poetry Renaissance, Vimalakīrtinirdes'a, the thought of nonduality, Vimalakīrti's ten-foot-square hut

摘要： 《维摩诘经》是大乘佛教阐发“不二”思想的经典之作,其中“维摩丈室”这一意象集中表达了“色空不二”“小大不二”等“不二”佛理。本文拟通过对“维摩丈室”意象进入旧金山诗歌文艺复兴的跨文化路径进行溯源考察,详细探究以雷克斯罗斯、斯奈德和惠伦为代表的旧金山诗歌文艺复兴诗人是如何理解《维摩诘经》中的“不二”思想,并如何通过改写和重新阐释“维摩丈室”意象来对“不二”思想进行诗意呈现的。文本分析与文献考古研究表明,旧金山诗歌文艺复兴诗人对“维摩丈室”意象的解读历经文化误读、异域化改写和本土化改写三个阶段。这些变异性解读以及这些诗人在人生经历上对维摩诘居士的效仿不仅促进了其诗歌内容的创新,还为深受二元对立思想困扰的美国社会引入了一种新的不二思维模式和文化视野。

关键词: 旧金山诗歌文艺复兴, 《维摩诘经》, 不二思想, 维摩丈室