戏曲行业的清源神产生  

A Preliminary Study on the Emergence of God Qingyuan in Opera Industry

作　　者：宋希芝 SONG Xi-zhi(School of Chinese Language and Literature,Linyi University,Linyi 276000,China)

机构地区：[1]临沂大学文学院,山东临沂276000

出　　处：《东方论坛（青岛大学学报）》2020年第4期109-117,共9页Eastern Forum（JOURNAL OF QINGDAO UNIVERSITY）

基　　金：国家社会科学基金艺术学一般项目“生态位理论视角下的当下民营剧团现状调查与研究”(17BB026);临沂大学博士科研启动基金项目“戏曲行业神信仰与行业精神研究”(15LUBK06)的阶段性成果。

摘　　要：行业神的崇拜相沿成习,成为一种民俗文化心理。唐宋以来,清源真君(二郎神)就是朝廷主持奉祀的水神。元代以后,人们开始确认"清源真君"就是青城山道士、后来的隋朝嘉州太守赵昱。但是,直到清初康熙年间,官府也没有把清源真君(二郎神)视为戏神。从清源真君的神迹来看,与戏曲似乎并无关系。汤显祖所说的"以游戏而得道",即从水神清源真君(西川灌口神)转为戏神,过于突兀。其产生程序应该经历了"水神——傩神——戏神"三部曲。The worship of industry gods has become a custom and a kind of cultural mentality.From the Tang and Song dynasties,Qingyuan Zhenjun(GodErlang)had been the watergod presiding over worship in the royal court.After the Yuan Dynasty,people began to identify Qingyuan Zhenjun asa Taoist priest on Qingcheng Mountain,and then zhao Yu,prefect of Jiazhou in the Sui Dynasty.However,the government did not regard Qingyuan Zhenjun as the god of opera until the reign of Emperor Kangxi in the early Qing Dynasty.Judging from his experience as a god,he seems to have nothing to do with opera.Tang Xianzu said that"hebecame a god through games",that is,transforming from Water God Qingyuan Zhenjun into God of Opera.Since this change is too abrupt,he must have gone through three stages-WaterGod,God Driving Pestilenceand God of Opera.

关 键 词：戏曲行业 清源神 水神 傩神 戏神 

分 类 号：J809.2[艺术—戏剧戏曲]