道教神谱图片大全_明清道教与戏剧研究

发布时间：2016-09-26 18:02

  本文关键词：明清道教与戏剧研究，由笔耕文化传播整理发布。

明清道教与戏剧研究

     2009-7-17 20:58:12     来源：     

　　论文标题明清道教与戏剧研究
The Research of Daoist Religion and Drama in Ming Dynasty and Qing Dynasty
论文作者李艳
论文导师李刚,论文学位博士,论文专业宗教学
论文单位四川大学,点击次数0,论文页数149页File Size7190k
2004-03-01明清;道教;戏剧
Ming Dynasty and Qing Dynasty; the Daoist Religion;Drama
本文从总体上探讨了明清时期道教重要的文化现象，如三教合一、劝善书的传播、道教法术等与戏剧的关系：对重点剧作家、作品作了深入而全新的阐释，如朱权、朱有燉、汤显祖、徐渭、叶小纨等，尤其以汤显祖为代表；还对一些专题，如八仙戏剧、戏神和道情艺术等进行了探讨。 明清时期道教式微，虽然在明中叶以前也出现过短暂的中兴，但明中叶后资本主义生产关系在中国开始萌芽以及西方近代科学技术的传入，冲击着封建社会经济基础上产生出的意识形态——道教。道教首领逐渐失去了以往的尊荣显贵，腐化堕落，降低了在政界和广大民众中的声望：道教教义学说经历了几千年的发展变革，已臻于成熟，很少再有创新：教团组织日益分散缩小，宫观也日趋衰败。从总体上看，道教呈现出明显的衰落景象，但道教的“三教合一”却比以往来得更加成熟和汹涌。同当时宗教界和学术界的人士“周流三教”一样，许多剧作家身上渗透着浓厚的“三教圆融”思想，如汪廷讷、屠隆、汤显祖、徐渭、郑之珍、洪升、孔尚任等。三教杂糅合一，仙佛鬼神混杂，是明清戏剧的基本面貌。天堂地狱、道品仙阶、因果报应、仙佛显灵、还魂转生、鬼魂托梦……几乎所有的作品都有宗教情节或色彩，，佛道词汇充斥在字里行间，仙佛鬼怪与才子佳人一样成为戏剧作品中必不可少的形象。体现“三教合一”思想的集大成作品是明代郑之珍的《新编目连救母劝善戏文》。与官方正统道教组织的衰落相比，道教文化在民间却得到了深入发展，其中，明清时期广泛流布的道教劝善书与戏剧是道教民间化进程的重要渠道。道教劝善书是宋明以来道教文化的重要载体，与戏剧相同，作为一种重要的方式维系着中国封建社会后期的社会结构和道德秩序。道教劝善书劝善惩恶、阴骘观念和因果报应等思想对戏剧创作产生重要影响，同时戏剧也成为道教劝善书、道教教义传播的重要媒介，这源于二者受众主体在民间及“有功于辅教”的共同特质。浪漫神奇的道教仙传故事丰富了明清戏剧的色彩和内容，奇幻多端的道教法术也是明清戏剧浪漫、诡橘和传奇的重要表现手段。虽然正式的道教法术仪式是为某一宗教理念而展示的，与戏剧舞台上为增强戏剧性或体现审美而点染的道教法术动作表演不同，但二者在主题、表演程式、虚拟的表演特征等方面呈现出相似之处。本文考察了道教法术在明清戏剧中的展示，以及对戏剧创作想象力的滋养。同时，通过戏剧作品了解道教法术奇幻神秘的特色。 明代神仙道化剧沿袭元人创作，继续发展并开始擅变，集中体现在题材、种类的拓宽，思想内容由愤世逐渐向崇道、济世的转变。这一传承与转变，首先体现在贾仲明、谷子敬等由元入明作家的创作中，其作品批判现实的精神日趋淡薄，谈玄慕道、避世出家的宣道思想成分越来越浓。明初，由于种种政治遭际，造成宁献王朱权和其侄子周宪王朱有墩等皇室成员的倾仙慕道，也促成了明初叶神仙道化剧的繁荣，尤其是朱有墩的杂剧创作，借神仙题材增加节令贺寿的欢乐祥和与雍容华贵，体现了其作为藩王创作杂剧的风格。本文还分析了明中后期徐渭、杨慎、叶小纵等杂剧家的创作与道教的关系。明代一批无名氏的创作彻底抛弃了元代神仙道化剧的愤世精神，剧作的悲剧感逐渐淡化，烟霞味明显增强，度脱的主角不再是满腹悲愤的儒生，而是虔诚的道教崇信者。剧作从元人的反映人道，逐渐转变成反映神道，集中体现了崇道、济世的主题。清代神仙度脱剧似乎更多地继承了元人剧作批判现实的精神。剧作家怀才不遇、抱负不展、内心愤慈、厌恶现实，托之于道家的逍遥物外、解脱尘世，描绘和歌颂道教清净淡泊、逍遥自在的神仙情趣，大多数作品流露出消极出世的思想。但比之元人痛彻心肺的痛苦和强烈的愤世嫉俗，清人的创作更多的是叹世悲凉的呻吟。在明代雍容典雅的庆寿剧的基础上，清代发展而来一种专门在内廷喜庆、皇家典礼、岁时节令展示样征瑞应、呈现红火热闹气氛而作的宫廷承应戏，比明代教坊排演的规模大、规格高，不仅仅局限在为家庭私人喜庆而作，多为宫廷皇室而作。 本文对明清时期以有关道教故事或传说为内容的传奇分为两大类来探讨。一类是以表现道教情怀、烟霞味浓厚的超凡入圣、崇道济世的神仙道化传奇，目的是宣扬道教教义，表现道教救世安民的宗教关怀;另一类是以道教故事或道教意象为外壳，意在表现世俗情感的道教神仙故事传奇。这基于道教对生命的热恋、对阴阳交合和男女两性关系的肯定，以及明代中晚期出现的抒写性情、歌颂世俗情欲的强劲文学思潮。 道情是一种至今还流行的古老的道教艺术，本文考察了道情的形成与发展历程以及明末清初文人道情作品和蜂拥而起的道情戏，着重分析了具有代表性的晋北道情戏。 八仙是道教神团体系中最受人们喜爱的神仙群体，“八仙”的故事流传很早，直到明代中叶才得以定型，明清时期八仙信仰深入民心，本文考察了八仙信仰的形成，对八仙人物进行了考辨，并对明清时期八仙剧作了考述与分析。 明清时期不少剧作家与道教关系密切，本文试图对汤显祖及其作品作深入而全新的阐释。汤显祖出生在道教极其贵盛的明代中叶，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

  本文关键词：明清道教与戏剧研究，由笔耕文化传播整理发布。

本文编号：123930