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高僧與俗文學 - 作為劇評家、戲中人與「曲作者」的雲棲袾宏=The Eminent Monk and Popular Literature: Master Zhuhong as a Drama Critic, a Protagonist in Vernacular Narratives, and a Lyricist |
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| 著者 |
王萌筱 =Wang, Mengxiao
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| 掲載誌 |
中華佛學研究=Chung-Hwa Buddhist Studies
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| 巻号 | n.21 |
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| 出版年月日 | 2020 |
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| ページ | 1 - 35 |
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| 出版者 | 中華佛學研究所=Chung-Hwa Institute of Buddhist Studies |
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| 出版サイト |
http://www.chibs.edu.tw/
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| 出版地 | 新北市, 臺灣 [New Taipei City, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者為美國加州大學柏克萊分校東亞研究所聖嚴佛學博士後研究員 |
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| キーワード | 雲棲袾宏=Yunqi Zhuhong; 俗文學=Popular literature; 《歸元鏡》=Guiyuanjing; 〈七筆勾〉=“Qibigou”; 袾錦=Zhujin |
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| 抄録 | 目前學界對袾宏的研究主要集中於其禪凈一致的思想與修行、在晚明江南叢林的領袖地位等方面，本文則依據袾宏撰著及其傳記等，對學界著
墨較少的袾宏與俗文學之間的關係進行爬梳。本文從三個方面展開研究：袾宏對戲曲搬演的評點、俗文學文體塑造的袾宏形象，以及署名袾宏的俗
文學作品。首先，袾宏在其作品中借用演員身份、觀劇體驗等與戲曲相關的譬喻來闡釋佛理，並直接表達了褒獎宣揚正法之戲、貶斥邪淫爭鬥之戲
的二元戲劇觀。其次，袾宏本人也在身後成為十七至二十世紀戲曲、小說、彈詞、寶卷等俗文學作品中的主人公。與憨山德清等人所撰寫的袾宏
傳記相比，這些通俗敘事性文體為袾宏的形象更添了人情味，尤其強調夫婦同修同證的旨趣，體現了民間對袾宏及其俗家之妻湯夫人——袾錦的想
像與形塑。再次，署名袾宏的〈七筆勾〉曲詞將孝道、婚姻、功名等世俗事務一筆勾銷，在後世廣為流傳，被很多文人居士模仿。他們借用該體式
抒發自警及勸世之意，並形成了一種「七筆勾體」。署名袾宏之曲標榜出世旨趣，後人仿作則大多謀求涉世安樂，體現了俗文學作品在僧俗兩界的
衍異。本文勾勒出袾宏作為劇評家、戲中人及「曲作者」的角色交織，為我們審視明清時期佛教與文學的多維關係提供了新視角。
As one of the eminent Buddhist monks in the late Ming, Master Yunqi Zhuhong
has had a great impact on Chinese Buddhism of later generations. Existing
scholarship on Zhuhong has largely focused on his joint practice of Pure Land
and Chan, his monastic reform, and his interactions with lay disciples. However,
the questions of how Zhuhong wrote about popular literature and how
vernacular genres portray the image of Zhuhong have not yet received much
scholarly attention. This article investigates Zhuhong’s relationship with
popular literature in three aspects: how he commented on theatrical performance,
how vernacular hagiographies represent his life, and how a set of lyric songs
attributed to Zhuhong has inspired later imitations. First, Zhuhong adopted
theatrical metaphors to interpret Buddhist doctrines. He also praised plays that
advocate correct Buddhist teachings, while attacking those about romance and
warfare. Second, many popular literary works from the seventeenth to the
twentieth centuries, including dramas, fictions, a tanci ballad, and a precious
scroll, feature Zhuhong as the male protagonist. In contrast to Zhuhong’s
biographies written by Hanshan Deqing (1546-1623) and other disciples, these
vernacular narratives highlight Zhuhong’s mental activities as well as the role
of his wife Madame Tang / Nun Zhujin. These works illustrate the popular
imagination of an eminent monk and his wife practicing Buddhism in parallel
settings. Third, a set of lyric songs titled “Qibigou” (Crossing out with seven
strokes of the pen) was attributed to Zhuhong, which elaborates the
impermanence of secular commitments such as filial piety, conjugal love and
official rank. These songs became widespread in the Qing dynasty. Many literati
wrote songs in imitation of both the form and the motif of “Qibigou.” While the
songs attributed to Zhuhong express his determination to renounce the secular
world, later imitations largely pursue this-worldly happiness and peace. By
illuminating Zhuhong’s roles as a drama critic, a protagonist in vernacular
narratives and the possible author of a set of popular songs, this case study
offers new perspectives to examine the multiple dimensions of the interplay
between Buddhism and literature in late imperial China. |
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| 目次 | 一、前言 3
二、袾宏論戲曲：以戲喻佛與褒正貶邪 5
三、俗文學作品對袾宏形象的塑造：兼論淨土劇《歸元鏡》在後世的影響 10
四、署名袾宏的〈七筆勾〉曲及後世的「七筆勾體」 22
五、結論 27
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| ISSN | 1026969X (P) |
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| ヒット数 | 543 |
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| 作成日 | 2021.07.27 |
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| 更新日期 | 2021.08.04 |
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