颜真卿仙化故事的流变及其文化内涵  

The Evolution of Yan Zhenqing's Immortal Story and Its Cultural Connotation

作　　者：谭智 TAN Zhi(Jinan University,Guangzhou 510632,China)

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《天中学刊》2023年第5期79-86,共8页Journal of Tianzhong

摘　　要：颜真卿作为唐代名臣和书法家,在死后开始被仙化。有关他的仙化故事自中唐末期产生后不断演变,在各个时期呈现出不同的面貌。唐宋笔记小说中的颜真卿仙化故事体制虽短,却体现了文人对它的精巧加工和艺术化处理。元明仙传在承继唐宋以来的故事情节基础之上,又赋予其鲜明的宗教色彩,使颜真卿正式进入道教的神仙谱系之中。明清戏曲则对其篇幅和情节进行了扩充和延展,人物刻画的重心也发生了转移,并以该故事宣扬因果报应。颜真卿仙化故事的演变历程不仅反映了中国古代小说、戏曲创作观念的变化,更说明了故事文本和人物形象无不受到社会思潮、文学观念、宗教思想的综合影响,是时代文化与文学发展共同作用的结果。Yan Zhenqing,a famous minister and calligrapher of the Tang Dynasty,was immortalized after his death in the later on stories.These stories evolved in different periods and displayed in various forms.Although his immortalization story in the Tang and Song Dynasty are short,it reflects the exquisite processing and artistic treatment by the literati.In the Yuan and Ming dynasties,a distinct religious meaning makes Yan Zhenqing officially entering the Taoist lineage of immortals.The operas expanded and extended the length and plot of this story,and the story was used to promote karma.The evolution of Yan Zhenqing's immortalization story not only reflects the change of the concept of ancient Chinese novels and opera creation,but also illustrates the change and unchanged of the story text and character image,which is influenced by the comprehensive influence of social ideological trends,literary concepts and religious thoughts,and it is the result of the joint effect of the development of culture and literature of the times.

关 键 词：颜真卿 仙化 故事流变 文化内涵 

分 类 号：I206[文学—中国文学]