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| Tibetan Buddhist Drama | ||
| 作者 | Hulton Baker, Robert |
|---|---|
| 出處題名 | Dissertation Abstracts International |
| 卷期 | v.48 n.5 |
| 出版日期 | 1987.11 |
| 頁次 | 1059A |
| 出版者 | ProQuest LLC |
| 出版者網址 | https://www.proquest.com/ |
| 出版地 | Ann Arbor, MI, US [安娜堡, 密西根州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | 410; Dissertation abstract |
| 關鍵詞 | Tibetan Literature; Drama and its relationship to Buddhism; Hulton-Baker, Robert; |
| 摘要 | This study provides a detailed analysis of the major characteristics of Tibetan Buddhist drama as seen in the texts of three representative plays. A second aspect of the study investigates the possible influence of classical Indian aesthetics on the genre, and for this purpose an applied examination of Kavya has been included. The three plays chosen-- Drimeh Kundan, Nangsa Ohbum and Songtsan Gampo --are typical variations in type, source and theme. Drimeh Kundan, drawn from Indian sources and the best known example of this literature, illustrates the extraordinary generosity and compassion of its hero, Prince Drimeh Kundan, who gives away all he possesses so that he may benefit others. Nangsa Ohbum utilizes a Tibetan plot to explore the protracted difficulties of its heroine, Nangsa of Rinang, who is motivated to leave her place as the wife of a powerful prince to enter a life of religion. The ensuing conflict tests her endurance and determination in leaving her husband, son and parents to become a solitary ascetic. Songtsan Gampo is an historical drama which characterizes key events in the reign of Tibet's first Buddhist King. The play illustrates the establishment of the Tibetan Buddhist cultural identity. The main conclusions are: (1) Buddhism has had a powerful influence upon, and is found abundantly within, the traditional drama of Tibet. Its presence in the genre is almost ubiquitous and there are numerous references to rituals and traditions that are specific to the Northern School of Buddhism, the Mahayana. Drimeh Kundan's vow to give his possessions to benefit others is representative of the Mahayana vow of the Boddhisattva. Nangsa's flight from the mundane world to a yogic practice represents the Mahayana view of the world as that of relative appearance, yet insubstantial. (2) The connections with Kavya have been established chiefly in Drimeh Kundan and Nangsa Ohbum, for these plays utilize classical Indian esthetic values in the formulation of organization, plot development, themes and characterization. Tibetan Buddhist drama stands as a cultural monument to the religious and philosophical concerns, as well as to the culture, of the people of Tibet, and it offers a revealing view of the uniqueness of Tibetan culture. |
| 點閱次數 | 216 |
| 建檔日期 | 2001.02.14 |
| 更新日期 | 2008.05.01 |
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