论图谶与古代小说  

On the Prophecy of Image Form and Ancient Novels

作　　者：万晴川 Wan Qingchuan

机构地区：[1]扬州大学文学院

出　　处：《清华大学学报（哲学社会科学版）》2020年第1期115-125,203,共12页Journal of Tsinghua University(Philosophy and Social Sciences)

基　　金：国家社会科学基金项目“道教图像与中国古代小说关系研究”(15BZW106)

摘　　要：汉魏六朝时期,作为官方意识形态的图谶,因与道教文化形态类似而为道教所融摄。特别是具有鲜明道教色彩的地理博物小说,在内容上大量采纳纬书,仿拟纬书的叙事体例,并将道教圣域图谶化和符箓化。六朝之后,谶纬遭到禁止,但并没有消亡,而是发展为"轨革卦影"等形式的民间方术,并大量出现于笔记小说中,形成一种展现术技神奇、宣扬天命思想的小说文体。至明清时期,这类故事继续以笔记小说形态呈现,同时"图谶"思维开始内化为一种小说的结构艺术,丰富了古代小说的预叙手法,完成了从原始巫术到艺术审美的转换。From the Han Dynasty to the Six Dynasties,as an official ideological prophecy,Taoism inherited and merged because of its similarity to Taoist culture. Especially Geographical Museum novels with distinct Taoist culture adopted a large number of Wei Shu in content,imitated the narrative style of Wei Shu,the holy land of Taoism became magic symbols. After the Six Dynasties,prophecy was forbidden,but it did not die out. Instead,it developed into a folk art of the form of Guige Gua Ying and appeared in a large number of the note novels,forming a kind of fictional style which showed the magic of art and propagated the Decrees of Heaven. In the Ming and Qing Dynasties,while such stories continued to be presented in the form of note novels,the thinking of prophetic books began to internalize as a novel structural art,enriching the narrative techniques of ancient novels,and completed the transition from primitive witchcraft to artistic aesthetics.

关 键 词：图谶 道教小说 预叙 

分 类 号：I207.41[文学—中国文学]