关汉卿生活在蒙古后期到元朝前期的历史阶段 ,蒙古族崇尚义气的原始风气 ,对他的戏剧创作产生直接的影响。蒙古族早期盛行结拜之风 ,成吉思汗在统一蒙古各部过程中班朱尼河之盟 ,是一个广为流传的故事 ,带有英雄传奇的性质。从关汉卿的时代开始 ,刘、关、张桃园三结义故事广泛传播 ,成为戏剧创作的重要题材。把关汉卿戏剧有关桃园三结义的故事情节、价值取向、审美理想与班朱尼河之盟相关记载相对照 ,会发现许多相通之处 ,兄弟义气是把二者相贯通的主线。因此 ,必须把关汉卿的戏剧创作置于蒙元时期特殊的文化背景下加以观照 ,揭示它所体现的各民族文化的沟通和融汇。 Guan Hanqing lived in the historical stage from the late Mongolian to the early Yuan Dynasty, and the Mongolian primitive culture advocating morality and righteousness had a direct impact on his dramatic creation. The prevalence of Mongolian wreaths in the early stages of worship, Genghis Khan in the process of unification of Mongolia ministries Junihe Alliance, is a widely circulated story, with the legendary nature of the heroes. From the age of Guan Hanqing, Liu, Guan, Zhang Taoyuan three knot story widely disseminated as an important theme of drama creation. In contrast to Han Hang’s story about Taoyuan’s tri-knot storyline, value orientation and aesthetic ideal, it is found that there are many similarities between Brother Han’s drama and the brotherhood which is the main line that connects the two. Therefore, Guan Hanqing’s drama creation must be placed under the special cultural background of the Mongolian Yuan Dynasty to reveal the communication and integration of the various national cultures it embodies.