禅宗对于深沙神形象的建构及其影响  

Construction and Influence of Zen on the Image of Shenshashen

作　　者：汤德伟 TANG Dewei(School of Humanities,Anqing Normal University,Anqing 246011,China)

机构地区：[1]安庆师范大学人文学院,安徽安庆246011

出　　处：《江苏海洋大学学报（人文社会科学版）》2024年第4期67-73,共7页Journal of Jiangsu Ocean University（Humanities & Social Sciences Edition）

基　　金：安徽省高校科研计划重点项目(2023AH050465)。

摘　　要：在禅宗语录中经常将深沙神形象汇入禅僧的说法体系中,多采用消解神性并附以生活化的特点,提升了深沙神的影响力,也促使密教神祇进一步世俗化。前辈学者多指出《西游记》中沙和尚源自密教深沙神,但对深沙神形象的动态演化与沙和尚的关系尚缺乏专门性的探究。禅宗话语中深沙神信仰世俗化的进路,同其与沙和尚形象保持关联相同频。俗文学中沙和尚地位的转变,或与禅宗体系对于深沙神形象的建构有关。In Zen discourse,the image of Shenshashen is often incorporated into the discourse system of Zen monks,often adopting the characteristics of dissolving divinity and attaching it to daily life,which enhances the influence of Shenshashen and further promotes the secularization of Esoteric deities.Many senior scholars have pointed out that Monk Sha in Journey to the West originated from the Esoteric Shenshashen,but there is still a lack of specialized exploration of the dynamic evolution of the image of Shenshashen and its relationship with Monk Sha.The secularization of the belief in Shenshashen in Zen discourse is as frequent as its association with the image of Monk Sha.The transformation of the status of Monk Sha in popular literature may be related to the construction of the image of Shenshashen in the Zen system.

关 键 词：深沙神 沙和尚 禅宗语录 《西游记》 

分 类 号：I207.41[文学—中国文学]