猪八戒“好色”形象探源

Study on the Origin of Pigsy′s"Woman Chaser"Image

猪八戒这个家喻户晓的经典形象,属于世代累积型的艺术形象。古典文学中猪八戒的“好色”主要表现在骗婚、抢亲、调情等诸多方面,但不同时代、不同文本中猪八戒的“好色”内涵有所不同。从元杂剧到明代小说再到清代宫廷大戏,猪八戒的“好色”形象也在不断发展演变,或良心未泯、礼仪犹存,或穿衣吃饭、人伦物理,或好色即淫、知情更淫。猪八戒的“好色”形象有着浓厚的宗教渊源,与印度婆罗门教中的摩利支菩萨、印度神庙中的生殖崇拜以及藏传佛教中的男女双修有密切关联。猪八戒的“好色”形象也是克己复礼的道德传统、纵情声色的文化环境以及情色演剧的时代氛围这三个原始力量共同作用的结果。

Pigsy,a household classic,is an artistic image accumulated from generation to generation.In classical literature,Pigsy′s"woman chaser"is mainly manifested in marriage fraud,bride-snatching,flirting and other aspects.But in different times and different texts,Pigsy′s"fond of lust"has different connotations.From Za Opera of the Yuan Dynasty to Ming novels to Qing Dynasty palace dramas,the image of Pigsy′s"woman chaser"is constantly developing and evolving:his conscience is not lost,and etiquette still exists;or his lust for woman,just like that for food,is part of human nature;or love of beauty leads to lust,and being in love results in even more.Pigsy′s"lust"image has a strong religious origin,which is closely related to the influence of the Indian Brahmanism′s Marichi Bodhisattva,the Indian temple′s reproductive worship and the Tibetan Buddhism′s practicing of men and women through sex.Pigsy′s"lust"image is also the result of combination of three primitive forces:the moral tradition of self-restraint for returning to propriety,the cultural environment of indulgence and the era atmosphere of erotic drama.