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《西游记》取经故事结构与题旨有个相生相发的演变过程。随着各种相关作品寓言特征的逐步强化,立象结构也产生着变化。百回本突显“心性修持大道”与《心经》“五蕴”课题解决的关系,形成以观世音访求取经人才为主的纲领性结构,以取经“五众”作为体现结构功能的重心形象。小说结构纲领中对取经历程的目标与角色关系的细致安排与全书丰富情节相呼应,既显示“心性修持”需要发挥象罔的思路,又显示各种创造包括艺术创造都需要谋略的哲理。取经团队构成紧扣结构与小说题旨的需要。“五众”是以心行为最活跃因素的个体与整体统一的象征形象。“仁者”与“行者”的统一体现明代心学新进流派的积极思想光源。观世音形象与结构及情节的密切关联,是借佛教菩萨寓言立象的出色创造。
“Journey to the West” take the story structure and theme has a phase of the evolution of the process. With the gradual reinforcement of the allegory features of various related works, the imagery structure also changes. Hundreds of books highlight the relationship between “heart repair avenue” and “Heart Sutra” “five details ”, and form a programmatic structure with Guzhenyin as the mainstay, taking “Wuzhong” as an example Structural features of the center of gravity image. The careful arrangement of the relationship between the objective and the role of taking course in the structure program of the novel echoes with the richness of the whole book, which not only shows the idea of “spiritual practice” needs to be played like an indiscriminate idea, but also shows that all kinds of creation, including art creation, need strategies philosophy. Taken together by the team structure and the theme of the novel need. “Five public ” is a symbol of the individual and the overall unity of the most active elements of the heart. The unification of “benevolence” and “walker” embodies the positive ideological light source of the new schools of thought in Ming Dynasty. The close connection between the Avalokiteshvara’s image and its structure and plot is an excellent creation of the Buddha’s allegory.