中國古典神話的氣質(zhì)和內(nèi)涵

舒姝

最近，“仙戀”大劇《三生三世十里桃花》一片大火，“火光”充斥熒屏內(nèi)外，一刷微信朋友圈，滿屏盡是“三生三世”情，處處都有“十里桃花”香。不管是收視率還是網(wǎng)絡(luò)點(diǎn)擊量、口碑上都有不俗的表現(xiàn)，在東方衛(wèi)視和浙江衛(wèi)視的單集最高收視率破2，全網(wǎng)播放量突破300億，成為毋庸置疑的現(xiàn)象級大劇。

《三生三世十里桃花》的故事核心是中國觀眾喜聞樂見的唯美愛情故事，講述了青丘帝姬白淺與九重天太子夜華的三生愛恨、三世糾葛的故事。原《三生三世》系列小說有龐大的粉絲群體，它的成功源于中國古典神話盎然的生命力。神話傳說是中華傳統(tǒng)文化的富礦，隨著科技的發(fā)展，影視劇神話題材類型呈現(xiàn)了藝術(shù)加技術(shù)、1+1大于2的全新效果。

用新穎的表達(dá)方式講述東方古典神話，深遠(yuǎn)悠長、意味濃郁，讓美麗的愛情故事穿越古今依然綻放出光芒，《三生三世十里桃花》所傳達(dá)的愛情觀是執(zhí)著的、永恒的中國式優(yōu)雅傳統(tǒng)愛情觀。每個人物都有可愛與獨(dú)特之處，不僅白淺與夜華征服了“四海八荒”觀眾的心，摯愛司音的翼君離境、為愛而機(jī)關(guān)算盡的素錦以及因愛離境而背叛整個四海八荒的玄女等鮮活的角色，無一不令觀眾記憶猶新。神話學(xué)者袁珂在《中國神話傳說》中寫道：“古代神話和古代歷史兩條互相平行的線……它們又時常糾纏在一起，攪混不清?！本湍谩斗馍裱萘x》來說，里面所有人魔神仙的沖突，也大都是朝代更替之時的矛盾映射，而此沖突背后所謂神魔的斗法，也是嚴(yán)格圍繞人的斗爭展開的，古代神話的創(chuàng)造者們，仍然本著人為核心的看法。

《三生三世十里桃花》這部影視劇所倡導(dǎo)的東方正能量，值得深入思考。它詮釋的中國傳統(tǒng)文化思想、觀念，都具有當(dāng)代尋求的正能量價值，對親人、對師父，對友情、對愛情，對寬恕、對仇恨，對自我、對他人，充滿美與善的解讀。它的成功并不是依賴激光特效的“神仙打架”，也不是仙魔斗法的“權(quán)力游戲”，而是“誅仙臺一跳”里飽含的劇情極致的善與惡、愛與恨。

這部影視劇之所以人氣爆棚的原因，除了高顏值的男女主角、虐心入骨的曠世絕戀，極大地滿足了觀眾對美好愛情的渴望與想象;另一個讓人移不開眼的原因，應(yīng)該就是神仙的飄逸灑脫、逍遙自在的生活狀態(tài)了吧？它喚起了根植于我們內(nèi)心深處的“神仙夢”，一直以來，我們對神仙的向往如同仰望夜空中的一輪明月，可望不可及。譬如桃林是中國文化中一個特別的存在，因?yàn)槟且黄短一ㄔ从洝?，它成為遠(yuǎn)離紅塵俗世的一個象征，它的形象往往是青山綠水間一片桃花，靜謐脫俗，讓人心向往之。

《三生三世十里桃花》是極具當(dāng)代審美意義的玄幻之作，但在骨子里依然是東方神話的氣質(zhì)和中華傳統(tǒng)文化的內(nèi)涵。劇中對古典美學(xué)的追求，補(bǔ)齊了國產(chǎn)古裝劇的一個短板，真正做到了致力于講好中國故事、傳承中華優(yōu)秀傳統(tǒng)文化。

從《仙劍奇?zhèn)b傳》到近些年的《古劍奇譚》《花千骨》《青云志》，再到最新的《三生三世十里桃花》，不難看出，仙俠的風(fēng)潮并不是一陣風(fēng)，它們火熱、穩(wěn)健而且愈發(fā)顯出生機(jī)勃勃的模樣。這些影視劇，就像是漂亮的糖果紙，創(chuàng)作動機(jī)都是“得年輕人者得天下”，而題材和演員則有時就取決于商業(yè)的考量。網(wǎng)絡(luò)小說固然容易積聚熱度，但短平快的創(chuàng)作方式往往帶有弱原創(chuàng)性的天疾。在《三生三世十里桃花》的流量收割之下，它是不是最后的爆款，才是熱鬧之下的真問題。

（本文圖片由達(dá)飛欴提供）

a television series featuring the romance of immortals， hit the television screen on January 30， 2017， two days after the traditional Chinese New Year started. It was an instant success. It took the nation by storm. For months， Chinese social media buzzed with chats about the characters and storyline of the drama. It is said that the online videos of the series received 30 billion playback hits. The original novel， first published online， had a very large and very young following in the cyber world. Its English translation titled is selling well and receiving good reviews on Amazon.com. After the screening of the drama， many viewers have turned to the book for a closer and more comprehensive reading experience.

Many factors account for the phenomenal success.

According to some experts， the success of the romance and fantasy drama can be partly attributed to the ancient Chinese myths and fairytales. Chinese culture teems with romances. Ye Hua and Bai Qian， two deities in the series， find love in three lifetimes and in three worlds.endprint

The way the complex storyline unfolds in alternate realities and lifetimes in the world of gods is familiar to the Chinese audience. The star-studded cast is impressive and they appeal to the young audience. In the eyes of scholars， the drama of romance and fantasy highlights the best of the traditional Chinese culture and ideology. Though the television blockbuster is a fantasy woven with modern aesthetics， the core of its appeal being the ancient oriental myths and traditional Chinese culture. It shows how people care for loved ones and respect their masters and mentors， how people love and forgive， how people examine their inner worlds bravely， how they confront hatred， and how they get along with other people. The drama can be considered an exemplary expression of beauty and kindness. The success has nothing to do with court fighting for power or physical battles full of expensive vulgar showy stunts， often seen in other television series.

The peach woods in the television reminds the audience of ， a fable by Tao Yuanming in 421 AD about a chance discovery of an ethereal utopia where the people lead an ideal existence in harmony with nature， unaware of the outside world for centuries. The beautiful scenes of the peach woods in the series associate the audience with the classical essays of the past.

In addition to relating the romance that survives and blooms through tribulations， the blockbuster also wows the viewers imagination about how the immortals live in nine heavens. Moreover， the aesthetics of this series accomplishes what other costume television series have failed to achieve.

The 2017 blockbuster TV series is by no means a solitary phenomenon. Similar televised dramas have been all the rage over years. It is not hard， therefore， to tentatively conclude that stories about immortals arent just a fad. They are a popular and stable and thriving trend and a continuation of ancient Chinese myths and fairytales. They inspire young novelists. The novels they write become films and television dramas and offer a special appeal to the young generation of television viewers and readers.endprint