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漢譯佛典《維摩詰所說經》的戲劇人物沖突=On the Conflict of Dramatic Characters in in the Buddhist Canon of Sinitic Translation |
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| Author |
普慧 (著)=Pu, Hui (au.)
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| Source |
復旦學報 (社會科學版)=Fudan Journal (Social Sciences Edition)
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| Volume | n.2 |
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| Date | 2020 |
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| Pages | 89 - 100 |
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| Publisher | 復旦學報編輯委員會 |
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| Publisher Url |
http://www.fdwkxb.fudan.edu.cn/CN/volumn/home.shtml
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| Location | 上海, 中國 [Shanghai, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 普慧，本名張弘，教育部“長江學者獎勵計畫”特聘教授，四川大學中國俗文化研究所教授、博士生導師。 |
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| Keyword | 戲劇劇本藝術=script art of drama; 《維摩詰經》=Wéimójié Jīng; 人物角色沖突=character role conflict; 不二法門=the only correct approach to a subject |
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| Abstract | 戲劇劇本的一個主要藝術目標，就是運用各種方法塑造人物形象來揭示社會矛盾，反映社會生活。其核心和靈魂就是設計各種沖突，其中人物角色的矛盾沖突是戲劇藝術的重中之重。大乘佛經《維摩詰所說經》就是充分借鑒和運用古代印度戲劇的創作藝術手法，設計了各種矛盾沖突，尤其是人物角色之間以及人物內心的沖突，展示了維摩詰居士與諸佛上首弟子聲聞、菩薩、天人等思想境界的不同，以及他自己內心二元世界對立後的統一。可以說，戲劇藝術手法的充分運用，使得《維摩詰經》不同于其他經典，更具有藝術魅力。
One of the main artistic objectives of a scenario is to shape a lot of characters to reveal social contradictions and reflect social life in various ways. Its core and goal are to design and construct all kinds of conflicts and the conflicts between character roles are the priority among priorities. The Mahāyāna sūtra took good advantage of the ancient India artistic writing techniques of dramas to design all kinds of conflicts, especially conflicts between characters and even conflicts within a special character, demonstrating the different ideological levels between the lay Buddhist, Bodhisattva and Apsara and the unity of opposites within his own dualist world. It can be said that the awesome use of the artistic writing techniques of dramas in makes it quite different from other Buddhist sūtras with more artistic charm. |
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| ISSN | 02570289 (P) |
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| Hits | 46 |
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| Created date | 2024.04.29 |
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| Modified date | 2024.04.29 |
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