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细检禅宗文本,不难发现,中国戏剧因素从不同角度和层面为禅宗文本所吸纳,禅宗公案、机锋、法语、偈颂等,无不烙下戏剧影响的印痕。中国禅宗在晚唐五代时期发展鼎盛,至宋代进入其“烂熟时期”1;而自汉至宋则是中国戏剧的草创与形成阶段。佛教进入中土,扑面而来的是迥异于印度文化的中国文化——没有对彼岸的冥想,只有对现世的迷恋。因此,佛教要站住脚跟,就必须适应中国民间的信仰诉求,放弃虚无缥缈的彼岸之念,立足灰头土
It is not difficult to find out that the elements of Chinese drama have been absorbed by the Zen texts from different angles and levels. Zen public cases, machine frontages, French, Odeon and so on have all left traces of the influence of the drama. Chinese Zen flourished in the late Tang and Five Dynasties and entered its “overhaul period” 1 in the Song Dynasty. From the Han to Song Dynasties, it was the stage of creation and formation of Chinese drama. Buddhism into the soil, blowing a very different from the Indian culture of Chinese culture - there is no meditation on the other side, only the infatuation of the present world. Therefore, if Buddhism needs to hold its own heels, it must adapt itself to the Chinese people’s belief in beliefs and give up the illusory idea of the other side,