戏曲的母体并不是宗教 ,但宗教确实对戏曲有着巨大而深刻的影响 ,这种影响不只是表现在戏曲张扬教义、摄取宗教意象、搬演托庇神庙等表层关系上 ,更主要的表现在精神的渗透和功能的混融上———从戏曲凿虚蹈空的审美掌握方式、重神轻形的审美取向、善恶有报的“双重结构”、理之所必无 ,情之所必有的奇幻特色、仪式化的演剧功能上 ,都可窥见与戏曲共生的佛、道二教的影子 The mother of the opera is not a religion, but religion does have a huge and profound influence on the opera. The influence is not only manifested in the superficial relations such as the drama propaganda doctrine, the religious image absorption, Infiltration and blending of functions --- From the drama Chu Kong empty aesthetic aesthetic grasp, emphasis on light-shaped aesthetic orientation, good and evil reported “dual structure”, the reason must have, love must have The fantasy features, the ritualistic drama function, you can see the shadow of Buddhism and Taoism coexisting with the opera