考察明代曲家与佛道文化因缘，大抵有三个类型：一则亲佛近道曲家，这类曲家对佛道文化亲近却不沉迷，可谓最大宗者；二则嘲佛讽道曲家，这类曲家不满于佛道窳滥现象，其戏曲作品极尽嘲讽之能事；三则佞佛崇道曲家，这类曲家执着于飞身丹霞的白日梦，其戏曲作品充满荒诞不经的玄色。同时，本书还撷取三个典型群体——宫廷曲家、僧侣曲家和藩王曲家展开深入分析，发现其戏曲作品具有鲜明的佛道文化烙印。

Examining the causes of Ming dynasty composers and Buddhist culture, there are roughly three types: one is a close Buddhist and Taoist composer, who is close to Buddhist culture but is not addicted, and can be described as the largest sectarian; the second ridicules the Buddha and Taoist composers, who are dissatisfied with the phenomenon of Buddhism and Taoism, and whose opera works are extremely satirical; Three Yu Buddha Chongdao composers, such composers are obsessed with the daydream of flying Danxia, and their opera works are full of absurd and mysterious colors. At the same time, the book also draws on three typical groups - court composers, monk composers and clan composers - for in-depth analysis, and finds that their opera works have a distinct imprint of Buddhist and Taoist culture.（AI翻译）

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