【摘要】：《文溆子》從其被創(chuàng)作開始便與他的作者文溆和尚一樣頗為坎坷,只流傳下一句"念四聲觀世音菩薩",與其在當(dāng)時的影響力大相徑庭,而其作為教坊曲的身份也一直未能張目。這不僅與文溆和尚在憲、穆、敬、文、武朝的俗講活動息息相關(guān),同時也是唐代佛教俗講藝術(shù)發(fā)展跌宕起伏狀態(tài)下的一個特殊產(chǎn)物。借助傳世文獻(xiàn)中相關(guān)記錄,我們可以對《文溆子》的曲調(diào)、本事、生成、傳播、流變進(jìn)行考證。
[Abstract]:From the beginning of its creation, Xuti is as bumpy as his author, monk Wen. The next sentence, "recite Quan Yin Bodhisattva", is quite different from its influence at that time, and its status as a teacher's song has never been able to open its eyes. This is not only closely related to the activities of Buddhist monks in the constitutionalism, Mu, Jing, Wen and Wu dynasties, but also a special product of the development of Buddhist folklore art in the Tang Dynasty. With the help of the relevant records in the literature, we can make textual research on the tune, ability, generation, propagation and evolution of Wenxuzi.
【作者單位】： 浙江大學(xué);
【分類號】：J609.2
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本文編號：2184643