梅妃，福建莆田人，唐玄宗開元時期寵妃，天寶年間與楊貴妃爭寵互嫉，自貶上陽東宮，安史之亂時殉節而死。唐代所有的正史典籍都未登載，生平事蹟記載於南宋李俊甫《莆陽比事》〈梅妃入侍〉中，作者不明，敘述江采蘋與唐玄宗情愛互許的愛情故事，文本中的〈一斛珠〉、〈樓東賦〉、〈題梅妃畫真〉等詩作，成為宮廷棄婦的代表作。元代的梅妃故事，載錄於陶宗儀《說郛》所收錄的〈梅妃傳〉，擴大〈梅妃入侍〉的情節，多了唐玄宗縱情聲色，以致怠政誤國的鄙視和貶責，在原本的愛情故事中，加入政治嘲諷，加深道德意義的教化思想。 明代〈江妃傳〉，梅妃成為反面形象人物，梅妃與楊貴妃聯手成為宮闈爭嫉的主使者，謝肇淛用以嚴厲批判，嘲諷寵妾妒媚的社會現象，是梅妃故事的旁枝之作。明代另一部崑曲傳奇――《驚鴻記》，繼承〈梅妃傳〉的敘述主線，穿插楊貴妃誣陷太子與梅妃私通的謠言、梅妃投庵遇救的情節，營造梅妃化險為夷的高潮。另一方面，為了改編梅妃死於兵亂的結局，塑造大團圓的戲劇性效果，文人典雅的曲辭與賓白，使得情節之間有著密切的因果脈絡；梅妃寄身道觀之後，涉及宗教仙佛的奇聞軼事，接二連三而來，最後終於與唐玄宗重圓歡會。《驚鴻記》按著「遭亂―離散―投庵―出庵―團圓」的時間順序，民間敘事在文人創作中延伸著，深富世俗化的趣味。 到了清代，歷史章回小說《隋唐演義》，以寄世托生的命運貫串梅妃的人生，延續《驚鴻記》大團圓的戲劇主軸，把安史之亂肇禍的主因歸納於楊貴妃。楊貴妃破壞唐玄宗、梅妃刻骨銘心的兩世姻緣，塑造梅妃在生死關頭，深明大義和自我犧牲的精神，梅妃成為《隋唐演義》中，唯一展現正面形象的女性人物。明、清兩代的梅妃故事，在唐代歷史事件中加入宮闈秘事，人物性格鋪陳細膩、近乎現實性的描寫，迎合大眾需要，提供趣味性、諷刺性及人情味的特性。梅妃故事長期存在隱晦不顯的狀況，本篇從歷時性與共時性的角度，以民間敘事與文人敘事的概念深入分析，期待在梅妃故事的研究上，有更豐富意涵及展現。 / Mei Fei, Hong Keng Putian city residents, the greatest jealousy with Gui-Fei Yang in the Tang Dynasty, was from the kaiyuan to Tianbao Periods. Mei Fei was demoted to the Shangyang east palace, Martyrdom and died of The An-Shih Rebellion. All history is not contined in Tang Dynasty, recorded her life story in Southern Song Dynasty, Li-Junfu'“ Puyang-bi-shi ”'Mei-Fei ru shi'. The author of the book was unknown. The love story between Cai-Ping Jiang and Tang Xuanzong. The poetry from“Yi-Hu-Zhu”、“Lou-Dong-Fu”、“Mi-Fei's Poem”, became the representative works of palace abandoned women. The story of Mei Fei in Yuan Dynasty, described in the Tao-Zongyi “Shuo-Fu” that the collection of “The Legend Of Mei-Fei”, eapand the plot of“Mei-Fei rushi”, increase Tang Xuanzong indulgence and lust, leading to national corruption, despised by others and blame. In the original love story, joined the political mockery, deepen the moral education of thought. “The Legend Of Jiang-Fei” in the Ming Dynasty, Mei Fei became the image of the nedative characters, Mei Fei and Yang Guifei together into the emperor's concubine struggle, Xie-Zhaizhi used severe criticism, ridiculed the concubine jealous of social phenomena in the story of Mei Fei's side branch. Another Legend of the Kunqu legends in the Ming Dynasty――“Jing Hong Ji”, Inheriting the Main Line of“The Legend Of Mei-Fei”, interposed rumors of Gui-Fei Yang framed Prince and Mei Fei Prince and Mei Fei adultery、Mei Fei sought refuge and rescued by the plot、to create Mei Fei broke the climax of the situation. On the other hand, in order to change the script about Mei Fei died in the end of the war, shaped the reunion of the dramatic effect, elegant lines and dialogue from intellectuals, making between the plot has a close cause and effect context. After the Mei Fei defected to the temple, involving the anecdotes of God and Buddha religious stories, came one after another, Finally reunited with the Emperor. According to the “ encounter unfortunate - separate - refuge in the temple - out of the temple - reunion ” of the time sequence from“Jing Hong Ji”. The folk narration is extended in the writers' creation, Full of common customs pleasure. During Ching Dynasty, the Historical Chapter Novel“ Sui and Tang Dynasties”, the fate of life reincarnation Mei Fei life, Continuation of “Jing Hong Ji”reunion drama main axis, The main cause of The An-Lushan Rebellion summarized in Gui-Fei Yang. Gui-Fei Yang destroyed the Emperor Tang Xuanzong、Mei Fei unforgettable marriage of the two cycles, shaping Mei Fei in an important moment of life and death, understood the truth and the spirit of self-sacrifice, Mei Fei became the only positive image of the female characters in the “ Sui and Tang Dynasties” . The story of Mei Fei in the Ming and Ching Dynasties, in the Tang Dynasty historical events to join the court secrets, character description delicate, almost realistic description, to meet the needs of the public, to provide interesting, satirical and human characteristics. This article from the diachronic and synchronic point of view, an analysis of the concepts of intellectual narration and folk narration, looking forward to the study of Mei Fei story, have more rich meaning and style.

東漢末年，一種名為「塔」的宗教建築物，隨著佛教的傳入而與之同時進入中國，成為崇敬禮拜的信仰中心。在佛教於中國的傳播過程中，塔的定位隨著宗教空間需求的擴大、以及中國固有王權空間觀念的影響而不斷的調適演變，逐漸的喪失了原本禮佛與信仰的中心地位，而轉變成為寺廟中缺乏實質用途的裝飾象徵性建築物。隋唐時期，先有隋文帝於仁壽年間大規模的造塔活動，使佛塔的建築與信仰普及全國，後有唐代重視休閒娛樂活動的社會風氣，並進而與科舉文化相結合，使得高聳的佛塔也同時成為得以享受登臨與題名之樂的風景名勝，具有更為世俗化的形象。 此外，多部講述造塔功德的佛經於唐代加以翻譯，使得唐代佛教徒以塔為墓風氣盛行，而民間功德塔的興造也非常興盛。在塔的概念與形象轉變方面，「以塔鎮地」概念的出現；佛塔高聳筆直、層層累疊的建築外型，也被用來指稱外觀或概念近似的建築物。最後，塔所突現出的垂直向度，也容易引申出人們各種關於崇敬、焦慮、與好奇的情緒：既是膜拜禮敬、溝通凡聖、得以消滅罪障的神聖空間，卻也是異常高聳、攀登不易的危險場所，甚至還是異人藏寶、夜叉棲居的奇特領域，而成為形象多元並具備豐富色彩的文學空間。甚至，具體而微的掌中小塔，也因為佛塔靈驗奇特的形象，而被延伸發展成為具有保護功能的隔離所。這些複雜神奇之各種異想的出現，也預示出塔在隋唐之後所即將呈現出之更為璀燦豐富的文化面貌。 / As a unique architecture of Buddhism, the Buddhist pagoda immigrated into China in the Han dynasty. Pagodas were built widespreadly as the religion center in the following centuries. However, after emerging with the traditional Chinese architecture concept, the main hall replaced the pagoda becoming the center of Buddhist temple gradually. In the Sui and Tang dynasties, various forms of the pagoda were presented because of the popular acceptance of Buddhism in the society and of the newly translated Buddhist Scriptures. In the form of tall pagodas of large temples in the capital to the small ones as memorials of eminent monks, the pagodas presented various images and were completely transformed from foreign architecture to the Chinese building. In the peace period, activities around the pagodas were recorded in documents and literatures forming a unique landscape in the Tang culture. Combination of the images of tall obvious building and holy religious space, lots of implications, other than solely Buddhist architecture, appeared in the literatures. Arising from the sensation to the architecture space and from the miraculous legends and tales, diversified and colorful imaginations have enriched the culture of Sui and Tang dynasties. Based on the literatures, historical documents, Buddhist Scriptures, architecture researches, and archaeological excavation, the details of different presentations and implications of the pagoda were demonstrated and concluded.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第21871号 / 人博第900号 / 新制||人||215(附属図書館) / 2018||人博||900(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 辻 正博, 教授 道坂 昭廣, 教授 太田 出 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM