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扶箕降仙的巫术表演在中国源远流长,至宋代,娱神色彩淡化,转而强调娱人与实用功能。与前朝相比,宋代扶箕最富于文化色彩的一个特点是箕仙作诗现象的普遍性。在宋代有关扶箕降仙的记载中,所降之仙多为“紫姑”。宋代扶箕巫术的流行与社会巫风盛行、道巫不分的宗教传播、军事力量虚弱等原因有关,而推动箕仙作诗现象的因素包括科举制度发达、文化氛围浓厚、女性受教育程度高等,具有鲜明的宋代社会特征。箕仙诗的价值也非仅止于文人逞才抒情和博妇孺一笑的娱乐功能,而是在一定程度上体现了宋诗尚奇的诗美追求与题材开拓,展示了宋人尚俗的生活意趣,为宋代士人提供了另类书写时政得失的方式。
Witch magic fairy descendants of the long history in China, to the Song Dynasty, entertainment desalination, instead emphasizing entertainment and practical functions. Compared with the former dynasty, one of the most cultural characteristics of the dustpan in the Song Dynasty is the universality of the phenomenon of Kei Xian poetry. In the Song dynasty, the descendants of immortals were “Zigu”. The prevalence of skeletal wihts in the Song Dynasty was related to the prevalence of witchcraft in the society, the religious spread of undivided witchcraft and the weakness of military power. The factors that promote the occurrence of the penny fairy tales include the well-developed imperial examination system, strong cultural atmosphere and women’s educational attainment Higher, with a distinctive Song social characteristics. The value of Kei Immortal Poem is not only limited to the entertaining function of lyricists and Bo women laughing, but to a certain extent, it embodies the pursuit of poetry and beauty of Song poetry, exploring the customs of Shang and Song people, Man offers alternative ways to write about political issues.