“观音”设喻的多维文化观照  

A Multidimensional Cultural Perspective of the Metaphor of “Guanyin”

作　　者：王鑫[1,2] WANG Xin(School of History,Northwest University,Xi an 710027,China;School of Humanities,Xi an Technological University,Xi an 710021,China)

机构地区：[1]西北大学历史学院 [2]西安工业大学人文学院

出　　处：《北京社会科学》2019年第11期88-99,共12页Social Sciences of Beijing

基　　金：国家社会科学基金项目重点项目“宋元明清时期中国汉地观音信仰研究”(14AZJ002)

摘　　要：观音菩萨本是带有神圣性的宗教偶像,却在市井生活和文学作品中频繁成为世俗化的喻体,设喻者对其本体往往不计出身、品行,构成了观音文化在世俗层面的特殊表征。这一现象的发生可上推至唐代,其设喻泛化、灵活,体现了世俗文化浅层性的特点,由此又衍生出"半截观音""四面观音""八面观音"等不同喻体名号。其原因可以从造像艺术、文学传统、宗教义理、人性需求等不同维度进行考察,从中体现了世俗文化与宗教文化在人性需求这一根本点上的对话。作为一种美的符号,"观音"作喻自有其文化价值,带给我们多方面的启示。The Avalokiteshvara is a religious idol with sacred nature,but it has been a secularized metaphor in urban life and literary frequently. People who make the metaphor often neglect its origin or character,which has formed special symbols of worldly level in Guanyin culture. This phenomenon can be traced back to the Tang Dynasty. Its metaphorical generalization and flexibility reflect the shallow characteristics of secular culture,and thus has derived different metaphorical names such as "half Guanyin""four-sided Guanyin" "eight-sided Guanyin". It could be investigated from the perspectives of statue art,literary tradition,religious doctrine,human needs and so on,which reflects the dialogue between secular culture and religious culture on the basic point of human needs. As a symbol of beauty,the metaphor of"Guanyin"has its own cultural value.

关 键 词：观音文化 比喻 人性需求 

分 类 号：G122[文化科学] I207.41[文学—中国文学]