宝卷与泰山后石坞:仪式文艺与信仰生活的互塑  

Precious Scrolls(baojuan)and Houshiwu of Mount Tai:Mutual Shaping of Ritual Literature and Faith Life

作　　者：李梦 LI Meng

机构地区：[1]山东大学儒学高等研究院,济南250100

出　　处：《民俗研究》2023年第2期133-143,160,共12页Folklore Studies

基　　金：国家社科基金重大项目“太湖流域民间信仰类文艺资源的调查与跨学科研究”(项目编号:17ZDA167)的阶段性成果。

摘　　要：《天仙圣母源留泰山宝卷》等四种宝卷是泰山女神碧霞元君信仰研究中未被充分关注的文本,已有研究多着眼于版本较多、流传较广的两种,而另两种稀见孤本也应予探究。首先,四种泰山娘娘宝卷体现出的稳定流传的“离家修行”叙事结构,其根源在于中国化的民间观音信仰方式,这是宝卷与俗民信仰生活深度绑定的体现,是仪式文艺源于信仰实践的又一明证;其次,作为仪式文艺的宝卷,并不只是信仰生活的被动反映和再现,泰山娘娘宝卷宣扬的叙事在地方传说中得到了延续,宝卷的叙事元素甚至直接促成了泰山后石坞“信仰标记物”黄华洞和白猿墓的产生。仪式文艺对信仰实践的反塑作用值得重视。The Mount Tai Goddess precious scrolls are underappreciated texts in the study of the beliefs of the goddess Bixia Yuanjun of Mount Tai,and most studies have focused on two of the more numerous and widely circulated versions of precious scrolls,but the other two rare and orphan texts should also be explored.First of all,the four types of Taishan Niangniang precious scrolls embody a stable narrative structure of“religious practice away from home”,which has its roots in the Sinicized folk Guanyin faith style,which is a reflection of the deep binding between precious scrolls and the faith life of the common people,and is another clear evidence that ritual literature and art originate from faith practice.Secondly,as a ritual literature and art,precious scrolls is not just a passive reflection and reproduction of faith life.The narrative proclaimed by Taishan Niangniang precious scrolls has gained its continuation in local legends,and the narrative elements of precious scrolls even directly contributed to the creation of the“faith markers”of Huanghua Cave and the Tomb of the White Ape in Houshiwu of Mount Tai.The role of ritual literature in reshaping the practice of faith deserves attention.

关 键 词：仪式文艺 宝卷 碧霞元君 泰山娘娘 

分 类 号：I207.7[文学—中国文学] B933[哲学宗教—宗教学]