| 摘要: | 《封神演義》，俗稱《封神榜》，又稱《封神傳》、是明代長篇神魔小說。作者運用自身豐富的想像力及廣博的宗教知識，整理當時民間流傳的戲曲、詞話、小說等，構築一個結構層次分明的封神世界，形成一部家喻戶曉的偉大著作。書中有為數眾多、各形各色的神仙、妖魔，他們各自擁有不同屬性的道術、法寶豐富多樣。這些仙人們不同於凡人的特殊能力，引發人們諸多的想像。他們的形象早以深入人心，成為人們耳熟能詳的人物，甚至成為民間信仰的宗教人物。因此本論文以《封神演義》中的道教神仙人物為主要研究對象，探究相關文獻，尋找神仙信仰中的文化意涵。 本論文共分成五章，第一章為緒論，提出研究動機與目的，接著描述與《封神演義》相關的前人研究成果，最後說明研究方法及章節安排。 第二章為「作者探究與故事溯源」，本章分三個部分：作者探究，以支持許仲琳說及陸西星說者較多，近年則以世代積累說的論點漸受到重視。故事溯源：追溯武王伐紂故事發生的源頭，探究《封神演義》與《武王伐紂平話》、《列國志傳》卷一、《三教源流搜神大全》及當時民間玄帝收魔故事的關係。人物設定依據：書中人物各有不同的來源依據，分別可從道教、佛教、泛靈信仰、上古神話中發現其淵源。 第三章為「封神世界的建構與神譜的分析」，封神世界的構築是一個輪迴不已的世界、神仙位階的的劃分自有作者獨特的安排，形成有別一般道教的神譜，提高仙人的地位，修仙到某一境界，得享悠遊自在的生活，而三百多位正神構成的天庭，成為類似一個以昊天上帝為首的天庭公務單位，為世間萬民服務，無形中形成一種神格的降黜。 第四章為「神仙人物的文化意涵」，探究《封神演義》中的宗教色彩，探索其在民間信仰與媒體傳播的現代意義。 第五章為結論，說明《封神演義》雖是以史實為框架，加入作者豐富的想像力所虛構而成的神魔小說，但它融合了三教與民間宗教的特色，重新加以組合，創造了與古籍不同的新神仙，佛道雜揉，充滿了世俗性格。藉由通俗文學及現代媒體的傳播功能，轉而成為民間信仰的新形象，進到傳統民俗文化的歷史傳承脈絡中，成為一股穩定民心的信仰力量。
＂Feng Shen Yan Yi＂, commonly known as ＂Feng Shen Bang＂, also known as ＂Feng hen Zhuan＂, is a demon novel in the Ming Dynasty. The author used his rich imagination and extensive religious knowledge to organize the operas, words, novels, etc. that were popular at the time, and built a structured world with a clear hierarchy, forming a great work that is well known to all households. There are many gods and demons of various kinds in the book, and they each have a variety of Taoism and magic weapons with different attributes. These immortals have special abilities that are different from mortals and cause many imaginations. Their images have long been deeply rooted in people's hearts, and they have become familiar characters, even religious figures of folk beliefs. Therefore, this thesis takes the Taoist immortal characters in “Feng Shen Yan Yi” as the main research object, explores the relevant literature, and finds the cultural meaning in the immortal faith. This thesis is divided into five chapters. The first chapter is the introduction. It puts forward the research motivation and purpose, then describes the previous research results related to ＂Feng Shen Yan Yi＂, and finally explains the research methods and chapter arrangements. The second chapter is ＂Author's Inquiry and Story Tracing＂. The author's inquiry supports Xu Zhong Lin's and Lu Xixing's sayings more. In recent years, the argument based on the accumulation of generations has gradually gained attention. Tracing the origin of the story: trace back to the origin of the story of King Wu of Zhou defeating King Zhou of Shang, and explore the relationship between ＂ Feng Shen Yan Yi ＂ and ＂king of Wu's Conversation＂, ＂Biography of the Kingdoms＂ Volume 1, ＂The Complete Collection of the Three Religious Sources and Searching God＂ and the folk Emperor Xuan Emperor to conquer the demon. Character setting basis: The characters in the book have different origins, and their origin can be found in Taoism, Buddhism, folk beliefs, and drama novels. The third chapter is ＂The Construction of the God-Fighting World and the Analysis of God's Genealogy＂ The construction of the God-fighting world is a world of endless reincarnation. The division of the immortal ranks has its unique arrangement by the author, forming a different genealogy of Taoism, improving the status of the immortals, practicing immortality to a certain level, and enjoying a leisurely life. The heavenly court composed of more than 300 orthodox gods has become a heavenly court official unit headed by the God of Hao Tian, serving the peoples of the world, virtually forming a form of deities. The fourth chapter is ＂The Cultural Implications of the Immortal Characters＂, explores the religious features of worshipping and suppressing the Buddha in “Feng Shen Yan Yi ＂, and explores its modern significance in folk beliefs and modern media transmission. Chapter 5 is the conclusion, which shows that although ＂Feng Shen Yan Yi＂ is based on the historical facts and adds the author's rich imagination to the fictional demon fiction, it combines the characteristics of the Three Religions and folk religions and recombines them. This created a new deity different from ancient books, mixed with Buddhism and Taoism, full of worldly character. Through the popularization of popular literature and modern media, it has become a new image of folk beliefs, entered the historical heritage of traditional folk culture, and has become a belief force that stabilizes people's hearts. |
