A Comparative Study of Kūkai and Wang Changling’s Poetic Theories—An Investigation Based on Kūkai’s Compilation of<i> Shige</i>

空海《文镜秘府论》对王昌龄《诗格》文本内容有所摘录与补充，这反映了空海对王昌龄诗论的承袭与创变。在诗歌技法论层面，空海在《调声》《十七势》《六义》等诗论文章中，既系统征引王昌龄对声律、章法及诗教功能的阐释，又整合了元兢《诗髓脑》的调声范式与皎然《诗议》的诗学见解，进而强调诗学理论的实用性、佛学意义与人伦价值。在诗学审美论层面，空海与王昌龄在《论文意》中共享“天然真实”的诗学理想。空海与王昌龄的诗论均受到佛教文化、六朝文论与唐人诗学的影响，但二者诗学对佛教文化的接受维度却有所区别：空海在诗学中阐释、宣扬密教教义，而王昌龄则化用佛学术语以阐释诗学问题。Kūkai’s Bunkyō Hifuron (Mirror of the Literary Realm) excerpts and supplements textual content from Wang Changling’s Shige, reflecting both Kūkai’s inheritance and innovative transformation of Wang Changling’s poetic theories. In terms of poetic technique, Kūkai systematically cites Wang Changling’s interpretations of tonal patterns, structural principles, and the didactic functions of poetry in essays such as Tonal Regulation, Seventeen Modes, and Six Principles. He further integrates tonal regulation frameworks of Yuan Jing’s Shisui Nao and literary insights of Jiaoran’s Shiyi, thus emphasizing the practicality of poetic theory while imbuing it with Buddhist significance and ethical values. Regarding the aesthetic theory of poetry, Kūkai and Wang Changling share the poetic ideal of “natural authenticity” in their Lunwenyi. While both scholars’ poetic theories demonstrate influences from Buddhist culture, Six Dynasties literary criticism, and Tang poetic traditions, their receptions of Buddhist culture diverge: Kūkai explicates and propagates esoteric Buddhist doctrines through his poetics, whereas Wang Changling adapts Buddhist terminology to elucidate poetic concepts.