本文以清初《西廂記》相關的文本及其相關的社會文化脈絡，探索明清之際的戲曲詮釋中佛教所呈現的作用，希望從理論思維的層次，省思明清之際的佛教與戲曲之間所共同經營的價值面向，亦將關注明清的文人與叢林如何建構戲曲美學的宗教理論基礎，他們的論述是否開展了某些特殊的層面，並隨時檢視當時佛教叢林對相關文化議題的意見，尋繹兩者之間的對話所透顯的時代意義，進而就佛教在戲曲論述中可能扮演的功能，以及其與社會、文化脈絡的互動關係加以檢討。當時的叢林的文化論述當中，有一種特殊的聲音，視釋迦牟尼佛的一生為一齣動人的戲劇。叢林傳統的戲曲論述側重於個體性的闡發，唯獨明清之際的蕅益智旭以「不能寫婬辭艷曲者，亦不能寫妙法」的說法，又引入天台宗「十界互具」的概念對舞臺上的時空呈現提供佛教的理論基礎。另外再以金聖嘆與尤侗為例，檢視當時文人的戲曲論述與佛教之間的關係，金聖嘆的《西廂》讀法極為重視「夢／覺」之間的關係，以及心理描寫的深度，而尤侗的〈西廂制義〉則是以八股文體重現《西廂記》中的男女情懷，而此二者又與佛教有千絲萬縷的關連。

Drama once was looked on as a kind of erotica with the potential to stir up sensation and encourage the popular audience to pursue happiness regardless of social stability. The function of Buddhism was emphasized in aesthetic theories of drama in 17th century China. This paper explores the role that Buddhism played in the commentary on drama in late imperial China by means of elucidating the related social and cultural contexts of the Xixiang ji (The Story of the Western Wing). It also analyzes the interrelations between religion and drama, and the value system behind Buddhist commentaries on drama of the time. In addition, it investigates the tradition and rationale of the prevailing opinion that looked on the Buddha's life as a wonderful drama, and the religious influence on drama from the Tiantai School of Buddhism. A profound psychological analysis is also found in Jin Shengtan's reading of the Xixiang ji, which was deeply informed by Buddhism. You Tong's reading of the Xixiang ji, written in the style of the eight-legged essay (baguwen), also touches upon many aspects of the Chan teaching in its analysis of the emotional relations between men and women in the story. The paper tries to foreground drama as an important cultural metaphor in Buddhist learning.