《醉菩提》是我国现存剧作中第一个把济公搬上戏曲舞台的剧目,其济公形象的塑造是受元明以来小说、戏曲热衷于刻画疯僧、癫道的审美传统之影响。济公“非僧非俗”的面貌和疯癫性格,一方面揭示了元明以来佛教戒律松弛,僧人日益世俗化的现实;另一方面也体现出晚明以来反对拘束个性,主张思想解放的时代思潮;同时还反映了宋元以来禅宗文化崛起和禅净合流的宗教文化精神。剧作家不仅抓住了这一形象的独特性,而且在其性格中灌注了富有积极意义的精神内蕴,在艺术呈现上也别具手眼。这一形象的生成与张大复特殊的人生经历和人生价值观也有关联,对后世济公形象的创造亦有较大影响。 “Drunken Bodhi” is the first drama in the extant dramas of our country that put Ji Gong on the stage of the opera. The shaping of his image is influenced by the aesthetic tradition of depicting the monk and the epilepsy since the Yuan and Ming dynasties. On the one hand, it reveals the relaxation of Buddhist precepts and the increasingly secularization of monks since the Yuan and Ming dynasties; on the other hand, it reflects that since the late Ming Dynasty, it has opposed the restriction of individuality and advocated the liberation of ideas But also reflects the religious culture since the rise of the Zen Buddhism since the Song and Yuan Dynasties. The playwright not only captures the uniqueness of this image, but also infuses his character with a positive spiritual connotation, which is also unique in artistic presentation. The formation of this image is also related to Zhang Dafu’s special life experience and values ​​of life, and also has a great impact on the creation of the image of later generations.