宋、元、明、清杂剧是中国古典戏曲中一笔极为丰厚的文化遗产，在中国文学与戏剧发展史上占有非常重要的位置。然而关于杂剧的孕育、产生与发展的历史原因，文学与戏剧史学界多有猜臆与争论。其中较为敏感与核心的论题是如何正确评价外族文化的输入。在客观事实上，历史所遗存的大量的杂剧作品确实杂糅与容纳着不胜枚举的外国、外民族的宗教与世俗文化成分。这些所谓“神仙道化”或“神头鬼面”的“胡风”杂剧形式，只能雄辩地证实：源远流长的中华民族传统文化体系对外族文化所拥有的巨大的广征博采与兼容并蓄之能力。 The Song, Yuan, Ming and Qing dynasties are extremely rich cultural heritages in Chinese classical operas, occupying a very important position in the history of the development of Chinese literature and drama. However, with regard to the historical reasons for the birth, birth and development of the drama, there is much speculation and controversy in the literature and drama historians. One of the more sensitive and core topics is how to correctly evaluate the input of alien cultures. In objective fact, a large number of dramas left over from history have indeed blended and contained the religious and secular cultural elements of countless foreign and foreign peoples. These so-called “immortalized” or “supernatural” forms of “Hu Feng” drama can only be eloquently confirmed: the long history of the Chinese nation’s traditional cultural system has a vast expanse of eclectic culture and its inclusiveness .