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《西游记》中的仙鬼怪佛,一方面以民间文化图像为依据,另一方面又融入了作者个人的人生体验和文化理念。例如,其仙界高低有序,井然排列,俨然就是神仙谱系的《西游》版;但一介花果山的美猴王就足以让玉帝狼狈不堪,这样的图景又迥异于道教的神仙想象。如来佛身为西天极乐世界的教主,法力无边乃题中应有之义,有时却又像个为儿孙操持家计的土财主。丰富多彩的民间文化图像与其成书过程密切相关,而作者个人的人生体验和文化理念则赋予了小说诙谐风格和深刻意涵。在《西游记》解读中,兼顾民俗学视角与作者视角,把握好解读的分寸,非常必要。
The immortal ghosts and Buddhists in “Journey to the West”, on the one hand, are based on folk culture images, on the other hand, incorporate the author’s individual life experiences and cultural concepts. For example, its fairyland orderly and well arranged, as if it is the fairy tale “Journey to the West” version; but a Huaguo Shan Monkey King is enough for the Jade Emperor find any such situation is different from the Taoist fairy imagination. Tathagata Buddha as the leader of the Western Paradise, Mana boundless to have the meaning of the title, and sometimes like a child for the grandchildren to run the family account of the rich soil. The rich and colorful images of folk culture are closely related to the process of its formation, while the author’s personal life experience and cultural conception give the novel a humorous style and deep meaning. In the interpretation of Journey to the West, it is necessary to balance the perspectives of folklore and the author and grasp the sense of interpretation.