南朝道教斋醮仪式的文艺象征与戏剧表演意蕴探赜  

A Probe into the Artistic Symbols and Dramatic Performance of the Ritual of Taoist Ceremony in the Southern Dynasty

作　　者：蒋振华[1] JIANG Zhenhua(College of Liberal Arts,Hunan Normal University,Changsha,Hunan 410081)

机构地区：[1]湖南师范大学文学院

出　　处：《中国文学研究》2019年第3期32-37,45,共7页Research of Chinese Literature

基　　金：国家社会科学基金重大招标项目“历代道经集部集成、编纂与研究”(17ZDA248)子课题“历代道经文艺思想资料集成、编纂与研究”

摘　　要：我国早期道教发展混乱无序,芜杂鄙薄,至南朝,陆修静等道教领袖开始对之进行全面整顿,制订和完善了道教斋醮仪式,重视仪式的象征含蕴,表现了与文艺象征原理相通相契的宗教艺术追求。同时,这种重视表演性的仪式型道教,又包含着丰富的戏剧表演意蕴,而且这些道教斋醮仪式的文艺象征与戏剧表演具有一定的内在联系,因此,道教斋醮仪式的探究有着较大的宗教艺术和戏剧艺术之价值。In the early stage of Taoist development in China,Taoist leaders,such as Lu Xiujing and his fellowmen in the Southern Dynasty,began to rectify the chaos and disorder of the early development,and formulated and perfected the Taoist fasting ceremony and attached great importance to the symbol of the ritual. It expresses the pursuit of religious art which is consistent with the principle of literary and artistic symbolism. At the same time,this kind of ritual Taoism,which attaches great importance to performance, also contains rich implication of theatrical performance. Moreover,there is a certain internal relationship between the artistic symbols of the Taoist ritual and the theatrical performances. Therefore,there is a great value of religious art and dramatic art to explore here.

关 键 词：南朝 斋醮仪式 文艺象征 戏剧表演 

分 类 号：I207.99[文学—中国文学]