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佛教戲曲《歸元鏡》研究=A Study of of the Buddhist Play Quei Yuan Jing |
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陳月萍 (著)=Chen, Yueh-ping (au.)
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| Date | 2023.07.05 |
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| Pages | 171 |
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| Publisher | 銘傳大學應用中國文學系 |
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| Publisher Url |
https://ac.mcu.edu.tw/
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| Location | 桃園市, 臺灣 [Taoyuean shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | doctor |
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| Institution | 銘傳大學 |
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| Department | 應用中國文學系 |
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| Advisor | 汪娟 = Wang, Chuan |
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| Publication year | 111 |
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| Keyword | 歸元鏡 = Quei Yuan Jing; 淨土 = pure Land; 戲曲 = theater; 念佛 = chant the name of Buddha |
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| Abstract | 智達是明末清初淨土僧人，其所編寫的《歸元鏡》（全稱《異方便淨土傳燈歸元鏡三祖實錄》），傳揚淨土三祖廬山慧遠、永明延壽與雲棲祩宏，從在家到出家的傳燈事蹟，並撰寫〈戲劇融通〉、〈問答因緣〉與〈客問決疑〉以闡述戲、佛融通之理。
《歸元鏡》在內容上，只以實事入戲，輔以大量佛法、佛號、佛讚與佛境，營造莊嚴、肅穆的風格。在「通俗」上，不談深奧的佛法，而是以簡單易懂的內容，表達只要一心念佛，便可往生西方淨土。在「音律」上，更改部分曲牌名稱為佛教用語；並穿插偈語、咒語、香讚等；反覆宣講淨土樂景。
本論文以《歸元鏡》為研究對象，並旁及有關事項，對全劇進行探討。第一章，主要說明本論文之研究動機與目的、文獻分析、研究方法與架構及研究侷限。第二章，從清末明初佛教的文化語境討論《歸元鏡》作者的撰述背景，並兼論《歸元鏡》的取材來源與版本源流。第三章，以勸人念佛、因果報應的故事內容說明歸元鏡的主題，並兼敘《歸元鏡》之內容。第四章，從戲曲的的角度分析《歸元鏡》的創作形式。第五章為本文之結論，總結《歸元鏡》之影響，並肯定其對於傳揚淨土思想之貢獻。
The Quei Yuan Jing(complete title: Transmission of the Lamp of the Pure Land as an Extraordinary Skillful Means: Mirror of the Return to the Origin, or the Veritable Record of Three Patriarchs), a play written by the seventeenth-century Chinese Buddhist monk Zhida. The Quei Yuan Jing’s storyline centers on the transmission of the Pure Land Buddhist teachings by recounting the biographies of three masters from different periods in Chinese history: Lushan Huiyuan, Yongming Yanshou, and Yunqi Zhuhong. Zhida also wrote three paratexts, Xiju rongtong (Blending in Harmony with Theater), Kewen jueyi (Dispelling a Guest’s Suspicion) and Wenda yinyuan(Questions and Answers about Causes and Conditions) to explain the principle of integrating drama and Buddhism.
In terms of content, Quei Yuan Jing only uses real events in the play, supplemented by a large number of Buddhist dharma, Buddhist names, Buddhist praises and Buddhist scenes, to create a solemn and solemn style. In terms of "popularity", it does not talk about the profound Buddhist teachings, but uses simple and easy-to-understand content to express that as long as you recite the Buddha's name wholeheartedly, you can be reborn in the Western Pure Land. In terms of "melody", the names of some tunes were changed to Buddhist terms; verses, mantras, incense, etc. were interspersed; and the joyful scene of the Pure Land was repeatedly preached.
This treatise takes Quei Yuan Jing as the research object, and discusses the whole play while considering related matters. Chapter 1 mainly explains the research motivation and purpose, literature analysis, restearch methods, structure, and research limitations of this paper. Chapter 2 discusses the writing background of the author of Quei Yuan Jing from the cultural context of Buddhism in the late Qing and early Ming dynasties, and also discusses the source of materials and editions of Quei Yuan Jing. Chapter 3 explains the theme of Quei Yuan Jing with stories about persuading people to recite Buddha's name and retribution of karma, and also narrates the content of Quei Yuan Jing. Chapter 4 analyzes the creative form of Quei Yuan Jing from the perspective of opera. Chapter 5 is the conclusion of this dissertation, summarizing the influence of Quei Yuan Jing and affirming its contribution to the spread of Pure Land thought. |
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| Table of contents | 第一章 緒論 1
第一節 研究動機與目的 1
第二節 文獻探討 4
第三節 研究範圍與方法、架構與研究侷限 9
第二章 《歸元鏡》的作者及其創作背景 12
第一節 明末清初佛教的文化語境 12
第二節 作者的撰述背景 22
一、作者寫作年代考 22
二、作者的創作旨趣 24
三、名稱由來 30
第三節 《歸元鏡》的取材來源 33
第四節 《歸元鏡》的版本源流 40
第三章 《歸元鏡》的主題內容 46
第一節 撰述主軸─勸人念佛，歸元於淨土 46
第二節 道德教化─因果報應的天道觀 50
一、中國天道報應觀的形成 51
（一）天道信仰的形成 51
（二）天人感應 52
（三）因果報應論 53
二、《歸元鏡》中的因果報應 54
第三節 故事情節 56
第四章 《歸元鏡》的創作形式 86
第一節 戲曲組織的創新 86
第二節 偈頌、咒語及香讚的加入 91
第三節 曲牌的運用與交錯 98
一、南北曲的使用 99
二、曲牌運用 100
三、曲牌使用特色 100
（一） 曲牌的易名 100
（二） 集曲的使用 100
第四節 腳色分析 102
一、《歸元鏡》使用腳色 112
二、演出人數 113
第五章 結論 114
附錄：《歸元鏡》使用曲牌一覽表 116
參考書目 152 |
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| Hits | 4 |
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| Created date | 2024.08.09 |
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| Modified date | 2024.08.09 |
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