论明清小说戏曲理论与佛教心性论的关系  

A Comparison of Relationship between Buddhist Thoughts of Mind with Fictions and Operas' Theory During the Ming and Qing Dynasties

作　　者：汤凌云[1] 

机构地区：[1]湖南理工学院中文学院,湖南岳阳414006

出　　处：《湘南学院学报》2013年第4期66-70,共5页Journal of Xiangnan University

基　　金：湖南省哲学社会科学基金项目(NO.11Ybb187);教育部人文社会科学研究青年项目(NO.12YJC720031)

摘　　要：明清小说戏曲理论具有丰富的佛教心性论内涵。明清小说戏曲思想家认为,艺术的虚构性出于创造之心,因而推重真实性情的书写,提出"写心"、"曲为心曲"等直切心源的学说,主张以平常心境进行审美活动。探讨明清小说戏曲理论与佛教心性论的关系,不能忽视贯穿其中的般若空观精神。There were rich Buddhist thoughts of mind in fictions and operas＇ theory during the Ming and Qing dynasties. Thinkers generally agreed that, fabrication of arts come from creative mind. Thus, they had a high regard for writing with real spirit. They made many theories straightly about creative mind, such as writing - heart, opera meanings one＇s mind and they stood for carrying on aesthetic activity with an ordinary mood. One shouldn＇ t neglect the spirit of Prajna about observing emptiness when it comes to discuss the relationship between them.

关 键 词：明清小说戏曲理论 佛教心性论 般若空观 

分 类 号：I206[文学—中国文学]