張青春

在唐代，天臺山因其山岳之神秀和人文淵源之獨特而成為當時人眼中的“詩和遠方”。

當時，前往天臺山的有一個詩人群體，他們從長安出發(fā)至揚州，然后循著大運河，跨錢塘江，經(jīng)浙東運河，沿曹娥江和剡溪，終至天臺山，這就是因天臺山這個目的地而產(chǎn)生的唐詩之路。

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

望 海

天臺山景色的綺麗雄奇，吸引著唐朝詩人們來此遣興抒懷。孟浩然在《自洛之越》中說：“山水尋吳越”“欲尋華頂去”;李郢更是直接，在《重游天臺》中寫道：“南國天臺山水奇?！背颂岬教炫_山，詩人們也專門描寫石梁飛瀑、華頂峰、國清寺、赤城山、靈溪、桃源洞、桐柏觀、玉霄山、瓊臺雙闕和寒巖等地。

從天臺山可以望海，擁有雄奇豐富想象力的李白看到了“云垂大鵬翻，波動巨鰲沒。風潮爭洶涌，神怪何翕忽”，而善于描寫現(xiàn)實的杜荀鶴則看到了“共僧巖上坐，見客海邊行。野色人耕破，山根浪打鳴”。由山看海也有技巧，詩僧皎然指點朋友重鈞上人，認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天晴之時，正所謂“山色雨初晴”。

天臺山的高度也是詩人們描寫的對象，最有名的莫過于李白的“天臺四萬八千丈，對此欲倒東南傾”了。蔡希逸對此作了更夸張的描寫：“山上天將近，人間路漸遙?！币馑际?，天臺山與天相接，離人間太遠了。章八元的詩句“八重巖崿疊晴空，九色煙霞繞洞宮”，除了描寫天臺山的高，“九色煙霞”也描寫了天臺山的幽奇之美。華頂峰是天臺山最高峰，四周群山向而拱之，層層相裹，狀如百葉蓮花，華頂正當花之頂，故名“華頂”，詩僧寒山閑游華頂峰，有“四顧晴空里，白云同鶴飛”的描述。

賞 瀑

天臺山各處的瀑布盡顯水的奇趣。

一是天臺山大瀑布，曹松專門寫了《天臺瀑布》一詩，其中“噴向林梢成夏雪，傾來石上作春雷”，用夏雪和春雷形象地描寫了天臺山大瀑布的顏色和聲勢，讓人如見其景，如聞其聲。

第二是石梁瀑布，集奇石瀑布為一體，為詩人們所向往，蔡希逸詩“誰當云里見，知欲渡仙橋”極言其高，而李郢“石橋危險古來知”則極言其險。寒山詩中，“瀑布千丈流，如鋪練一條。下有棲心窟，橫安定命橋”，夸張地描寫了石橋和飛瀑。另外，劉昭禹描寫靈溪瀑布的“云開孤月上，瀑噴一山寒”一句也頗有氣勢。

除了瀑布，就是映帶左右的溪水。徐凝在夜晚的月色中獨自在山中行走，聽到“石梁夜溪聲”。桐柏山中的靈溪也在唐詩中時有提及，許渾的詩句“山多水不窮，一葉似漁翁。鳥浴寒潭雨，猿吟暮嶺風”，非常寫實地描寫了靈溪的景色。

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

在隋唐時代，天臺宗和桐柏觀都極受統(tǒng)治者重視，隋代皇帝曾多次請智顗（yi）大師出山傳戒。唐代幾任皇帝多次接見道士司馬承禎，佛教和道教在隋唐時代的地位可見一斑。另外，詩人賈島和周賀曾為僧人，詩人曹唐曾是道士，可見當時佛教、道教的普及程度。佛道文化是天臺山詩歌中以各種形式反復出現(xiàn)的主題，也就不奇怪了。

詩人們追求道家的長生和成仙。孟浩然在詩中說，“紛吾遠游意，樂彼長生道”;李白則想“攀條摘朱實，服藥煉金骨。安得生羽毛，千春臥蓬闕？”希冀通過服藥煉骨，得道而飛升成仙。

另外，很多詩歌在標題和內(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》，張祜的《憶游天臺寄道流》，賈島《送僧歸天臺》，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》，方干《贈天臺葉尊師》，這些詩在標題中就有了或僧或道的名字。

在詩歌的內(nèi)容里，孟浩然在《尋天臺山》中提到“吾友太乙子”，李郢《重游天臺》有“誰見生公獨坐時”，賈島《送僧歸天臺》有“應齊智者蹤”，孟浩然《宿天臺桐柏觀》有“玄蹤得二老”句。這不但說明當時文人和僧人道人的交往比較密切，同時也表明佛道文化深入其心。

詩人們游覽天臺山的寺廟道觀，也寫出了很多語言優(yōu)美、引人遐思的詩歌。皎然是僧人，從他寫的《宿桐柏觀》可以推測，僧人夜宿道觀，且對道觀仙風道骨、圣地仙境氣象予以肯定，說明了當時天臺山佛道共融雙棲的狀況。國清寺依據(jù)天臺宗創(chuàng)始人智顗親手所畫的樣式所建，初名天臺寺，因此詩中普遍將國清寺和天臺寺共稱。劉長卿在《送臺州李使君，兼寄題國清寺》中稱其為“應真飛錫處”;賈島在《送僧歸國清寺》中，贊其為“妙宇”（“妙宇研磨講”）;周賀用“杯度寺”代稱國清寺（“一宿五峰杯度寺”）。天臺寺及其周邊的優(yōu)美景色也深深地吸引了詩人們，國清寺前的十里松林幾乎成了國清寺的標志，如李白用一貫的夸張手法寫道：“五峰轉(zhuǎn)月色，百里行松聲”，賈島用“石澗雙流水，山門九里松”對此作了概括，專門提到了國清寺山門兩側(cè)的溪水，皮日休也有“十里松門國清路，飯猿臺上菩提樹”的句子。天臺寺的景色給詩人帶來了閑情逸致，杜荀鶴寫道：“一到天臺寺，高低景旋生。共僧巖上坐，見客海邊行。野色人耕破，山根浪打鳴。忙時向閑處，不覺有閑情。”其夜景也讓士子的心安靜下來，如劉昭禹寫道，“天臺山下寺，冬暮景如屏。樹密風長在，年深像有靈。高鐘疑到月，遠燒欲連星。因共真僧話，心中萬慮寧?！庇袝r國清寺的景色也給游子帶來故園之思，如周賀寫道“幽鳥背泉棲靜境，遠人當燭想遺文。暫來此地歇勞足，望斷故山滄海濆（fén）?！?/p>

天臺山是道教圣地，加上唐代道教最受重視，道教的影響在描寫天臺山的唐詩中俯拾皆是，經(jīng)常出現(xiàn)的有桐柏觀、靈溪觀等。唐明皇送司馬承禎歸天臺，稱桐柏觀為紫府，稱司馬承禎為“賢士”“逸人”和“幽棲者”。孟浩然曾造訪桐柏觀，詩中寫道：“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，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壽之道。周樸描寫的桐柏觀就更有動感，“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，門靜花開色照衣。欲識蓬萊今便是，更于何處學忘機”。寫桐柏觀清人心目、千峰翠微、沖月而上、破煙鶴飛，巖深水落、水寒侵骨，門靜花開、花光照衣，將桐柏觀的高曠、雄渾、深邃、幽靜描繪的無以復加。鄭薰帶著一家人游覽桐柏觀，寫出了“數(shù)里踏紅葉，全家穿白云”的詩句，和周樸的描寫有異曲同工之妙。

除了描繪山水和記錄文化，天臺山唐詩還忠實地記錄了當時天臺山的物產(chǎn)、傳說和當時隱居者的生活，具有一定的史料價值，讀來別有興味。李敬方在《天臺晴望》中寫道：“林果黃梅盡，山苗半夏新”，這說明當時黃梅和半夏都是天臺山的重要物產(chǎn)。多位詩人還提到琪樹，如李紳專門寫詩，表達了對琪樹的喜愛之情，詩人的描寫非常認真，不像是在作偽，可能真有這種樹存在。陸龜蒙和李德裕則專門寫詩描繪華頂杖和金松。另外，劉晨阮肇遇仙的浪漫傳說多次出現(xiàn)在詩中，元稹在《桃源洞》詩中發(fā)問：“桃花飛盡東風起，何處消沉去不來？”桃花飛盡，不見仙人，為這首詩增添了理趣。詩人曹唐寫了組詩，再現(xiàn)了神人戀愛、悲歡離合之全過程，使神話更為優(yōu)美，詩句“洞里有天春寂寞，人間無路月茫茫”“桃花流水依然在，不見當時勸酒人”，讀來讓人蕩氣回腸，為之感嘆。另外，陳寡言、徐凝和劉長卿的詩歌反映了當時隱士的生活風貌，陳寡言詩《玉霄山居》云：“醉臥茅堂不閉關，覺來開眼見青山。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。

閱讀唐人天臺山詩歌，有種夢回唐朝的穿越感，仿佛在和詩人一起在天臺寺的燈光下閱讀，一起看石梁飛瀑，一起穿云踏葉而來，一起看琪樹飛花，一起走過十里松林大道，一起和他們追尋長生之道。唐代詩人在天臺山游歷和生活的風貌，都在這些詩中記錄了下來。天臺山的美麗和神圣在唐詩中有了一個詩意的棲息地，唐詩也因其文學地位為天臺山增添了光彩，從而使天臺山深深地刻上了唐詩的烙印。天臺山的美和唐詩的美互相映照，相得益彰。今人如果不讀天臺山唐詩，借古人之眼來看天臺山，則難盡其妙，因為每個山峰，每個洞穴，每個瀑布，每棵樹木，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.