笙簧里的变容:西王母神话中侍女形象的流变  

The Transfiguration of the Instrument Sheng: The Lady's Maids in the Mythological System of Xi Wangmu

作　　者：赵惠俊[1] 

机构地区：[1]复旦大学中文系,上海200433

出　　处：《杭州师范大学学报（社会科学版）》2016年第6期80-88,共9页Journal of Hangzhou Normal University(Humanities and Social Sciences)

摘　　要：西王母的侍女始见于《汉武帝内传》,共计八位。其中许飞琼和董双成二人脱颖而出,逐渐成为抒情文体里西王母侍女的代称。结合传世文字文献与图像文献可知,许飞琼和董双成很可能是女娲神话系统、祭祀乐舞表演、道教元素共同与西王母神话系统拼贴而成。两者形象实际上与唐代妓女暗相吻合,故而成为艳情诗、游仙诗,特别是妓女自作诗中的指代性喻象,最终演变成为中国文学中指代下层美丽女性的重要表征符号。其后两者又与西王母构成了类似人间君臣的关系,成为此岸世界的等级秩序在彼岸世界的投射式呈现,是西王母神话祛魅之后的结果。The lady＇s maids in the mythological system of Xi Wangmu first appeared in the Biography of Emperor Wu of Han,which numbered in total of 8. In terms of the lyric style,Xu Feiqiong and Dong Shuangcheng came out and gradually became the sign of the lady＇s maids of Xi Wangmu. According to the documents of letters and pictures,they are supposed to be the collage of the mythological system of Nü Wa,dancing and music performance in sacrifice rites to Xi Wangmu,as well as some Taoist elements. In fact,the image of two ladies is actually identical to the prostitute in the Tang Dynasty,thus becoming an important figurative symbol in erotic poems,poetry about immortals and poems composed by prostitutes. As a result,they finally become the symbol of the beautiful lady in the low class in Chinese literary works. Soon afterw ards,the relationship between these two ladies and Xi Wangmu is recognized as the relation among emperor and his ministers,which is a true reflection of the hierarchical order from the mythological world to the world in reality.

关 键 词：神话 西王母 许飞琼 董双成 笙簧 

分 类 号：I276[文学—中国文学]