【作者】 刘康乐；

【导师】 杨玉辉；

【作者基本信息】 西南大学 ， 宗教学， 2007， 硕士

【摘要】 道情诗歌作为一种宗教艺术，在漫长的发展历史中，经历从游仙诗、仙真人诗到道门乐府、吟咏赞颂的流变，再到唐代终于达到了世俗化的高峰。在这个流变过程中，也有反复，也有特例，并不遵循一成不变的规律，这是符合意识形态发展的特征的。在道情诗歌扑朔迷离的流变历史中，我们还是可以寻找出它总的发展趋势：世俗化与艺术本质的回归。本文共分三个部分，第一部分导言，引入了“道情诗歌”的概念，简单阐述了道教与诗歌的共鸣关系、唐代道情诗歌的独特价值和相关的学术研究回顾。第二部分追溯道情诗歌的起源和流变的历史，第三部分结论，分析道情诗歌世俗化的特征和深层文化意义。第二部分是全文的中心部分，分三章展开：第一章主要界定了“道情诗歌”的概念，在宗教艺术和文学体裁两个角度展开对“道情诗歌”的正名，消除对于“道情”概念外延和内涵的错误理解。第二章追溯道情诗歌的起源，在楚辞和秦代的仙真人诗中，寻找游仙诗歌的两个传统——“列仙之趣”与“坎凛咏怀”。在早期的道情诗歌史中，自然包括了具有道家思想的游仙诗和道门乐府，颇多“列仙之趣”。随着道教的诞生，道情诗歌表现了更多的形式，而且从最初就显现了世俗化发展的端倪。特别是“三曹”开创的游仙诗“坎壈咏怀”人文传统，深刻地影响了后世游仙诗歌的发展。游仙诗体之外，早期的道情诗歌保存在道藏中的还有不少教理诗、仙歌、赞颂词和常吟咏，这当是道情诗歌作为宗教艺术的典型，但是由于局限于宫观斋醮仪式使用，内容空洞，流于形式，缺乏丰富的现实生活基础，最后或在道教中枯竭，或在世俗社会中的得到进一步的发展，在内容和形式上呈现了世俗化的特征。第三章主要通过唐代道情诗歌的类型和特点，分析其世俗化发展的深层社会原因，把道教的社会化和审美艺术本质回归贯通起来，为宗教世俗化理论提供新的证据。第三部分结论，对道情诗歌的世俗化流变进行合理的评价。更多还原

【Abstract】 As a kind of religious art, in its long history, DaoQing Poetry has developed from poetry about immortals and ZhenRen to Taoist YueFu poetry and encomiastic intone, then reach the highest peak of Secularization in Tang Dynasty. In this process, it has reiteration, and also exception. It doesn’t follow the unchangeable regulation; it also matches to the characteristic of ideology development. In DaoQing Poetry’s complicated and confusing change history, we can still look for its total development trend of the Secularization and art inbeing return.This text is divided into three parts altogether. In the first part, the introduction brings the concept of " DaoQing Poetry ", expatiates simply the resonant relationship between Taoism and Poetry, the unique value of DaoQing Poetry of Tang Dynasty, and looks back some academic researches interrelated. The second part traces back to the origin of DaoQing Poetry and its historical development. The third part of conclusion, I analyses the characteristic and the deep culture significance of DaoQing Secularization.The second part is the center of the total text, which divided into three chapters:Chapter 1 mainly defined the concept of "DaoQing Poetry", analyses it as the religious art and the literature form in order to eliminate the misapprehension on "DaoQing Poetry" concept’s extension and connotation.Chapter 2 traces back to the origin of DaoQing Poetry in ChuCi of the Warring States Period and ZhenRen Poetry of the Qin Dynasty, to look for the two traditions of poetry about immortals: "the immortal purport" and " the chant to express one’s feelings". In the earlier period of DaoQing Poetry history, the Poems naturally includes the immoral poetry and Taoist YueFu which imbue with Taoist thoughts, even have many purport of the immortal. As the naissance of Taoism, DaoQing Poetry exhibited more varieties, and already has presented the inkling of Secularization originally. Especially, three Cao (CaoCao, CaoPi and CaoZhi) initiated the humanities tradition of immortal poetry: chant to express one’s feelings, affected the future generations development of the DaoQing Poetry deeply.Chapter 3 mainly analyses the deep social reasons of its Secularization by the types and characteristics of DaoQing Poetry in Tang Dynasty, and contacts the socialization of Taoism with the esthetic art essence, to provide the new proof for the theory of religious Secularization.The third part of conclusion evaluates reasonably the Secularization of DaoQing Poetry.更多还原