钟馗信仰与钟馗戏

【作者】 刘振；

【导师】 翁敏华；

【作者基本信息】 上海师范大学 ， 中国古代文学， 2003， 硕士

【摘要】 本文主要分三个部分：钟馗信仰、钟馗戏及海外钟馗信仰和钟馗戏。主要探讨了钟馗信仰和钟馗戏两者的发展演变脉络及其它们之间的相互影响关系。第一部分有关钟馗信仰的文章中，主要把钟馗形象、钟馗信仰的演变放在与傩祭的关联中分四个时期来论述的，即：孕育期、形成期、发展期、成熟期。在“孕育期”，作者在先秦两汉众多相关资料中，以最早的良渚文化中出现的玉琮刻纹和后来的方相氏、黄帝次妃嫫母和汉代食鬼的雄伯为对象，详细探讨了钟馗的原型问题。揭示了钟馗这个人物的身世渊源。在“形成期”，分析傩仪和道教结合所引起的变化，揭示了钟馗形象最早的面目。在发展期中，讨论了钟馗形象的一系列明显的变化，他逐渐地趋向世俗化、娱乐化，并开始脱离傩仪而出现在世俗生活文艺活动中。在成熟期的发展过程中，钟馗形象进一步向世俗化、娱乐化发展。钟馗相关的传说最终形成，并开始出现了跟钟馗相关的演艺活动，这标志着钟馗信仰的成熟。文章第二部分集中论述钟馗演剧的发展情况。钟馗戏繁盛的演出活动，本身就是钟馗信仰广泛流传的最好说明。本文将钟馗戏划分为两大类型，一是民间与傩仪紧密结合的傩坛钟馗剧，其中又分几种不同的情况而论之。二是舞台钟馗剧，主要是围绕文人创作的剧本来展开论述，揭示了前后不同剧本的继承、演进的情况。第三部分简单介绍了以日本为主的海外钟馗信仰和钟馗戏的情况。主要的目的是与中国大陆的情况做一比较，以期引进不同的视角，丰富钟馗研究的相关资料和方法。更多还原

【Abstract】 The article is divided into three parts: zhongkui play, zhongkui belief, and zhongkui play and zhongkui belief aborad. The article mainly talks about the developing of zhongkui play and zhongkui belief in history and their interinfluences on each other. The first part talks about the zhongkui belief. The history of zhongkui belief can be divided into four periods: the gestation period, the period of taking shape, the developing period, and maturity period. During the gestation period, I approached the archetype of zhongkui image in detail through analyzing some relative materials of the early history so that we could have a general idea about zhongkui’s origin. During the period of taking shape, I revealed the earliest image of zhongkui mainly through analyzing changes caused by the integration of nuo ceremony and daojiao. In the third period, there were a lot of changes in the zhongkui’s image, among which worldliness and entertainment were the most obvious features. From then on, zhongkui began to appear in some entertaining activities. During its maturity period, zhongkui’s image appeared more and more in the entertaining activities. Zhongkui legend came into being finally. The second part of the article mainly deals with the developing of zhongkui play, which is classified into two types: one is for the nuo altar, and the other is for the stage. And the later mainly refers to the development and inheritance between the plays written by different writers.The third part makes a brief introduction about zhonghkui belief and zhongkui play aboard, especially in Japan. The main purpose of this part is to enrich the relative materials and research methods for zhongkui study through comparing the development of zhongkui belief and zhongkui play in China to their development aboard.更多还原