阴阳对立观念与门神的起源演变  

Notion of Yin-Yang Opposition and Origin and Evolution of Door Gods

作　　者：吴晓东[1] WU Xiaodong(Institute of Ethnic Literature,Chinese Academy of Social Sciences,Beijing 100732)

机构地区：[1]中国社会科学院民族文学研究所,北京100732

出　　处：《楚雄师范学院学报》2023年第1期53-61,共9页Journal of Chuxiong Normal University

摘　　要：中国民间有丰富的门神文化艺术,包括贴桃符、贴门神神荼、郁垒,画虎、蛇、兔、螺蚌、鸡等,将门环做成传说中龙之九子的椒图,以及在门前放置石狮。本文认为,这些文化的起源与演变经历了漫长的历史,最初古人将阴、阳与鬼、人对应起来,致使阳成了鬼的对立面,而阳也构成了辟邪物的源头。桃符、神荼、郁垒以及虎、蛇等,都是与太阳(光明)有关的象征物。The art of door-god culture has a variety of forms among the folks, including peach-wood charms, pictures of Shentu and Yulei, drawings of tigers, snakes, hares, mussels and roosters, door knockers in the shape of dragon, and stone lions in front of the gates. The author contends that, at the very beginning of the long evolution history of this form of art, yin and yang were considered to be opposite beings, just like man and ghost, and objects and signs connected with yang that represents the positive being and power consequently became the original objects and signs believed to be able to keep out the evil. This explains why peach-wood charms, Shentu, Yulei, tigers and snakes are symbolic objects connected with yang.

关 键 词：阴阳观 门神 神荼郁垒 椒图 

分 类 号：B992.1[哲学宗教—宗教学]