童偶戏神考释  

A Textual Study of Doll God Worship in Dramas

作　　者：戚世隽[1,2] Qi ShiJun

机构地区：[1]中山大学中国非物质文化遗产中心 [2]中山大学中文系

出　　处：《戏剧与影视评论》2023年第3期1-12,共12页Stage and Screen Reviews

基　　金：国家社会科学基金冷门绝学研究专项学术团队项目“《全明戏曲》编纂与俗文学编目整理研究”(20VJXT006)成果。

摘　　要：民间演剧中的婴儿道具,同时也是民间演剧所奉童偶戏神,具备庇佑生殖的功能,寄寓了民间祈子愿望,其来源是古代的童偶献祭习俗。童偶献祭习俗与化生童子、磨合罗信仰合流,在形态上出现了错综复杂的现象,但也进一步强化了祈求子息的内核,扩大了其影响与传播,成为民间戏神童偶崇拜的基础。厘清戏神童偶形象的来源及变化,有助于进一步理解戏剧与民间信仰之间的密切关联。The baby props in folk drama are also the god of doll worship,with the function of protecting reproduction and conveying the wish of praying for the birth of a boy.Their origin is the ancient custom of doll sacrifice.Combined with the belief in the reincarnation of the child and Mohe Luo,this custom embodies complex phenomena in terms of its form.However,it has further strengthened the core of praying for sons,expanded its influence and spread,and become the foundation of doll worship in folk drama.Tracing the source and changes of the image of the doll in drama would help to further understand the close relationship between drama and folk beliefs.

关 键 词：童偶 戏神 杀首子 磨合罗 

分 类 号：I20[文学—中国文学]