本文關(guān)鍵詞：明清道教與戲劇研究，由筆耕文化傳播整理發(fā)布。

明清道教與戲劇研究

     2009-7-17 20:58:12     來(lái)源：     

　　論文標(biāo)題明清道教與戲劇研究
The Research of Daoist Religion and Drama in Ming Dynasty and Qing Dynasty
論文作者李艷
論文導(dǎo)師李剛,論文學(xué)位博士,論文專(zhuān)業(yè)宗教學(xué)
論文單位四川大學(xué),點(diǎn)擊次數(shù)0,論文頁(yè)數(shù)149頁(yè)File Size7190k
2004-03-01明清;道教;戲劇
Ming Dynasty and Qing Dynasty; the Daoist Religion;Drama
本文從總體上探討了明清時(shí)期道教重要的文化現(xiàn)象，如三教合一、勸善書(shū)的傳播、道教法術(shù)等與戲劇的關(guān)系：對(duì)重點(diǎn)劇作家、作品作了深入而全新的闡釋?zhuān)缰鞕?quán)、朱有燉、湯顯祖、徐渭、葉小紈等，尤其以湯顯祖為代表；還對(duì)一些專(zhuān)題，如八仙戲劇、戲神和道情藝術(shù)等進(jìn)行了探討。 明清時(shí)期道教式微，雖然在明中葉以前也出現(xiàn)過(guò)短暫的中興，但明中葉后資本主義生產(chǎn)關(guān)系在中國(guó)開(kāi)始萌芽以及西方近代科學(xué)技術(shù)的傳入，沖擊著封建社會(huì)經(jīng)濟(jì)基礎(chǔ)上產(chǎn)生出的意識(shí)形態(tài)——道教。道教首領(lǐng)逐漸失去了以往的尊榮顯貴，腐化墮落，降低了在政界和廣大民眾中的聲望：道教教義學(xué)說(shuō)經(jīng)歷了幾千年的發(fā)展變革，已臻于成熟，很少再有創(chuàng)新：教團(tuán)組織日益分散縮小，宮觀也日趨衰敗。從總體上看，道教呈現(xiàn)出明顯的衰落景象，但道教的“三教合一”卻比以往來(lái)得更加成熟和洶涌。同當(dāng)時(shí)宗教界和學(xué)術(shù)界的人士“周流三教”一樣，許多劇作家身上滲透著濃厚的“三教圓融”思想，如汪廷訥、屠隆、湯顯祖、徐渭、鄭之珍、洪升、孔尚任等。三教雜糅合一，仙佛鬼神混雜，是明清戲劇的基本面貌。天堂地獄、道品仙階、因果報(bào)應(yīng)、仙佛顯靈、還魂轉(zhuǎn)生、鬼魂托夢(mèng)……幾乎所有的作品都有宗教情節(jié)或色彩，，佛道詞匯充斥在字里行間，仙佛鬼怪與才子佳人一樣成為戲劇作品中必不可少的形象。體現(xiàn)“三教合一”思想的集大成作品是明代鄭之珍的《新編目連救母勸善戲文》。與官方正統(tǒng)道教組織的衰落相比，道教文化在民間卻得到了深入發(fā)展，其中，明清時(shí)期廣泛流布的道教勸善書(shū)與戲劇是道教民間化進(jìn)程的重要渠道。道教勸善書(shū)是宋明以來(lái)道教文化的重要載體，與戲劇相同，作為一種重要的方式維系著中國(guó)封建社會(huì)后期的社會(huì)結(jié)構(gòu)和道德秩序。道教勸善書(shū)勸善懲惡、陰騭觀念和因果報(bào)應(yīng)等思想對(duì)戲劇創(chuàng)作產(chǎn)生重要影響，同時(shí)戲劇也成為道教勸善書(shū)、道教教義傳播的重要媒介，這源于二者受眾主體在民間及“有功于輔教”的共同特質(zhì)。浪漫神奇的道教仙傳故事豐富了明清戲劇的色彩和內(nèi)容，奇幻多端的道教法術(shù)也是明清戲劇浪漫、詭橘和傳奇的重要表現(xiàn)手段。雖然正式的道教法術(shù)儀式是為某一宗教理念而展示的，與戲劇舞臺(tái)上為增強(qiáng)戲劇性或體現(xiàn)審美而點(diǎn)染的道教法術(shù)動(dòng)作表演不同，但二者在主題、表演程式、虛擬的表演特征等方面呈現(xiàn)出相似之處。本文考察了道教法術(shù)在明清戲劇中的展示，以及對(duì)戲劇創(chuàng)作想象力的滋養(yǎng)。同時(shí)，通過(guò)戲劇作品了解道教法術(shù)奇幻神秘的特色。 明代神仙道化劇沿襲元人創(chuàng)作，繼續(xù)發(fā)展并開(kāi)始擅變，集中體現(xiàn)在題材、種類(lèi)的拓寬，思想內(nèi)容由憤世逐漸向崇道、濟(jì)世的轉(zhuǎn)變。這一傳承與轉(zhuǎn)變，首先體現(xiàn)在賈仲明、谷子敬等由元入明作家的創(chuàng)作中，其作品批判現(xiàn)實(shí)的精神日趨淡薄，談玄慕道、避世出家的宣道思想成分越來(lái)越濃。明初，由于種種政治遭際，造成寧獻(xiàn)王朱權(quán)和其侄子周憲王朱有墩等皇室成員的傾仙慕道，也促成了明初葉神仙道化劇的繁榮，尤其是朱有墩的雜劇創(chuàng)作，借神仙題材增加節(jié)令賀壽的歡樂(lè)祥和與雍容華貴，體現(xiàn)了其作為藩王創(chuàng)作雜劇的風(fēng)格。本文還分析了明中后期徐渭、楊慎、葉小縱等雜劇家的創(chuàng)作與道教的關(guān)系。明代一批無(wú)名氏的創(chuàng)作徹底拋棄了元代神仙道化劇的憤世精神，劇作的悲劇感逐漸淡化，煙霞味明顯增強(qiáng)，度脫的主角不再是滿腹悲憤的儒生，而是虔誠(chéng)的道教崇信者。劇作從元人的反映人道，逐漸轉(zhuǎn)變成反映神道，集中體現(xiàn)了崇道、濟(jì)世的主題。清代神仙度脫劇似乎更多地繼承了元人劇作批判現(xiàn)實(shí)的精神。劇作家懷才不遇、抱負(fù)不展、內(nèi)心憤慈、厭惡現(xiàn)實(shí)，托之于道家的逍遙物外、解脫塵世，描繪和歌頌道教清凈淡泊、逍遙自在的神仙情趣，大多數(shù)作品流露出消極出世的思想。但比之元人痛徹心肺的痛苦和強(qiáng)烈的憤世嫉俗，清人的創(chuàng)作更多的是嘆世悲涼的呻吟。在明代雍容典雅的慶壽劇的基礎(chǔ)上，清代發(fā)展而來(lái)一種專(zhuān)門(mén)在內(nèi)廷喜慶、皇家典禮、歲時(shí)節(jié)令展示樣征瑞應(yīng)、呈現(xiàn)紅火熱鬧氣氛而作的宮廷承應(yīng)戲，比明代教坊排演的規(guī)模大、規(guī)格高，不僅僅局限在為家庭私人喜慶而作，多為宮廷皇室而作。 本文對(duì)明清時(shí)期以有關(guān)道教故事或傳說(shuō)為內(nèi)容的傳奇分為兩大類(lèi)來(lái)探討。一類(lèi)是以表現(xiàn)道教情懷、煙霞味濃厚的超凡入圣、崇道濟(jì)世的神仙道化傳奇，目的是宣揚(yáng)道教教義，表現(xiàn)道教救世安民的宗教關(guān)懷;另一類(lèi)是以道教故事或道教意象為外殼，意在表現(xiàn)世俗情感的道教神仙故事傳奇。這基于道教對(duì)生命的熱戀、對(duì)陰陽(yáng)交合和男女兩性關(guān)系的肯定，以及明代中晚期出現(xiàn)的抒寫(xiě)性情、歌頌世俗情欲的強(qiáng)勁文學(xué)思潮。 道情是一種至今還流行的古老的道教藝術(shù)，本文考察了道情的形成與發(fā)展歷程以及明末清初文人道情作品和蜂擁而起的道情戲，著重分析了具有代表性的晉北道情戲。 八仙是道教神團(tuán)體系中最受人們喜愛(ài)的神仙群體，“八仙”的故事流傳很早，直到明代中葉才得以定型，明清時(shí)期八仙信仰深入民心，本文考察了八仙信仰的形成，對(duì)八仙人物進(jìn)行了考辨，并對(duì)明清時(shí)期八仙劇作了考述與分析。 明清時(shí)期不少劇作家與道教關(guān)系密切，本文試圖對(duì)湯顯祖及其作品作深入而全新的闡釋。湯顯祖出生在道教極其貴盛的明代中葉，醉心
In this paper, the important culture phenomena, such as the Integration of the Three Doctrines, the broadcasting of Moralistic Storybooks and the relationship between Daoist Magical Skills and drama are discussed as a whole. New explanation are given on the important dramatists and their works, such as Zhu Quan, Zhu Youdun, Tang Xianzu, Xu Wei, Ye Xiaowan; and discussions are also given to some of the topics, such as the drama about the Eight Immortals, the drama God and the Art of Daoqin.In Ming dynasty and Qing dynasty, Daoism became declining and weak. Although it had a transient resurgence in the middle period of Ming dynasty, the appearance of capitalism production relationships and the entrance of western science and technology pounded the ideology coming into being on the basis of thefeudal society economic -The Taoist religion. Leading a dissolute life, theleaders of Daoist religion lost honor and glory and their distinguished position in the past. Therefore , their prestige among the political circles and the common people were cut down. After undergoing thousands of years" development, The creeds and doctrines of Taoist religion seldom had innovation. Seeing on total, the Taoist religion presents an obvious declining sight.However, the Integration of the Three Doctrines came to such an extent that it was more mature and more turbulent comparing with that in the past. Just like thefigures in religious circles and academic circles, many dramatists had the thought of the Integration of the Three Doctrines, such as Wang Tingna, Tu Long, Tang Xianzu, Xu Wei, Zheng Zhizhen, Hong Sheng, Kong Shangren and so on. The Integration of the Three Doctrines and the mingling of the immortals and the Buddha were the fundamental features of the drama in Ming dynasty and Qing dynasty. Among them, the Moralistic Storybooks widely disseminated in Ming dynasty and Qing dynasty were the important ways to popularize the Taoist Religion. The Moralistic Storybooks were the significant carrier of the Taoist religious culture since Song and Ming dynasty. Just like drama, the Moralistic Storybooks was one kind of the significant means to maintain the structure of Chinese feudal society and the ethical sequence.The moralistic drama about the immortals in Ming dynasty followed the way of that in Yuan dynasty, and started the transmutation in the themes and the sorts which turned from angry about the society to holding Daoism in high esteem. This turning manifested in the dramatists such as Jia Zhongming and Gu Zijing who lived in the age of changing dynasties from Yuan to Ming. The moralistic drama about the immortals in Qin dynasty inherited the sprit of criticism towards the society. Depressed and discontented , dramatists had unrecognized talents their ideal was not spread out unfold. Therefore their works expressed the passive idea of renunciation of family. But comparing with the works of Yuan, the dramatists in Qing dynasty was not so cynical but gave more dreary moans.The tales of marvels about Taoist religion in Ming dynasty and Qing dynasty are divided into two great types in this paper. One type is to express the Taoist religion feelings aiming at propagating the Taoist religion creed which expressing the religious solicitude; taking the Taoist religion tale and the Taoist religion imagery as the shell, another type has the idea to express the worldly feeling, which bases on the affirmation of life and men and women"s sexual relations in Daoist creed.The Daoqin Art is one kind of the old-age Taoist religion art which is still prevalent in this day. This paper investigates the progress of forming and developing of the Daoqin Art, the drama of Daoqin Art in Ming dynasty and Qing dynasty, andEmphasizes to analyze the drama of Daoqin Art in the North of Shan Xi province which can take as a representation in the drama of Daoqin Art.The Eight Immortals is the most favorable in the Taoist religion deity group. The tale of the "Eight Immortals" circulates very early. Until the middle period of Ming dynasty, the tale fell into a pa

  本文關(guān)鍵詞：明清道教與戲劇研究，由筆耕文化傳播整理發(fā)布。

本文編號(hào)：123930