歸元鏡 = Quei Yuan Jing; 淨土 = pure Land; 戲曲 = theater; 念佛 = chant the name of Buddha
摘要
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.
