Research On The Bao Juan Of Liu Quan’s Story

As a composite cultural text that integrates rap,narration,belief,and ritual,Baojuan has been circulated in Chinese civil society for nearly 800 years.In the 1920s,influenced by senior scholars such as Gu Jie-gang and Zheng Zhen-duo,more and more scholars put their research perspectives into the collection,sorting and cataloging of the Baojuan.Since the 1980s,Che Xi-lun has focused his research on Baojuan from the perspective of "a historical folk cultural phenomenon and rap form",which has greatly promoted the research process of contemporary Baojuan.From the Yuan Dynasty to the present,the story of Liu Quan has been prosperous among the general public.It has spread across regions,ethnic groups,varieties(styles,music styles,etc.),and across classes,and has a great influence on the general public.Around the time of Emperor Kangxi of the Qing Dynasty,the story of Liu Quan entered the Baojuan and developed in different directions in the South and North Baojuan,becoming one of the most typical and representative stories of Liuquan in various folk genres.The thesis takes the Baojuan of Liu Quan’s Story as the research object,aims to find its origin and evolution in the South and North Baojuan,explores its relationship with other folk genres,and then explores its function and value in folk beliefs and folk culture.The main body of the paper is divided into the following four paters:The first chapter,to sort out the source changes of Liu Quan’s story and the status of its precious scrolls.Taking Liu Quan’s stories,novels,operas,and rap literature as a starting point,the thesis discusses the origin and evolution of Liu Quan’s story.The earliest and complete story of Liu Quan in existence can be found in the eleventh chapter of Journey to the West(the100-chapter edition).After the book became a classic,Liu Quan’s story was spread among various literary and artistic forms in the society.the Baojuan of Liu Quan’s Story is eye-catching because of its unique text form and content.After sorting out the collected the Baojuan of Liu Quan’s Story,the thesis analyzes the characteristics of its naming,circulation time,form and content,and then divides it into two systems,north and south.The second chapter,discuss the origin of Baojuan of Liu Quan’s Story in the north.There are many versions of Liuquan’s story in the north,and the evolution is complicated.From the composition of the story and the connection between the volumes,it can be divided into three types: the Tang Wang’s Journey to Hell System,the Baojuan of Li Cuilian’s stories,and the "Bao Zhuan" system adapted by the folk religious group in the late Qing Dynasty.The Baojuan of Liu Quan’s Story in the north meets the needs of folk sects in its development.It also includes the belief in hell and self-cultivation for women commonly seen in Baojuan,and has always interacted with Liuquan stories in other forms of folk literature and art.The third chapter,Discuss the origin and change of Baojuan of Liu Quan’s Story in Wu dialect area.According to the detailed plot and the difference in the use of lyrics,Baojuan of Liu Quan’s Story in Wu dialect can be divided into three categories.The story of Liu Quan in the Wu dialect area has unity in the narrative content,and has many similarities with the long-standing faith text in the Jianghuai area-the book Liu Quan Jin Gua.Both book take the religious rituals that rewarding gods and entertaining people as the matrix,and frequently appear in the lives of the people in Yangtze River and Huai River basin,reflecting the different evolutionary origins of Baojuan of Liu Quan’s Story in the Wu dialect area and the northern area.The fourth chapter,explain the function and value of Baojuan of Liu Quan’s Story in folk beliefs and folk culture.Throughout the development and evolution of Liu Quan’s story,the Baojuan text is different from other folk rap literature and art forms.It reflects popular folk beliefs in hell,self-cultivation for women,and other persuasive and enlightened thoughts,which are a concrete manifestation of folk social beliefs and enlightenment.In addition,the Baojuan of Liu Quan’s Storyin the north and south of China,in its interactive influence with Dao Qing,Pai Zi,and Xianghuo and God Book(all forms of folk art),practiced the mixture of worldly and sacred,and completed the transformation from a belief-based folk genre to a worldly folk genre.From this,we can see how folk beliefs rise in the public.In short,by telling the story of Liu Quan Jin Gua and Cuilian’s self-cultivation,Baojuan of Liu Quan’s Story reflects the sectarian beliefs,hell beliefs,benevolence self-cultivation,and enlightenment and ideological concepts that exist in civil society,showing the sacredness and worldlyness of Baojuan of Liu Quan’s Story.The coexistence of secularism and the coexistence of faith and ethics is a concrete manifestation of the belief,enlightenment and entertainment of civil society.