“时”差“神”错:利玛窦400年形象变迁史  

The Pou-sa or God-of-clocks:Matteo Ricci's History of Image Changes in the Past 400 Years

作　　者：纪建勋[1] Ji Jianxun(School of Humanities,Shanghai Normal University,Shanghai 200234,China)

机构地区：[1]上海师范大学人文学院,上海200234

出　　处：《复旦学报（社会科学版）》2024年第6期133-145,共13页Fudan Journal（Social Sciences）

基　　金：国家社会科学基金重点项目“明清基督教在中国文化发展中的整体影响研究”(项目批准号:21AZJ003)的阶段性成果。

摘　　要：利玛窦被忽视的民间形象,其中有一个很有趣的“利玛窦菩萨”,利玛窦为什么在身后变成了自己最不愿意看到的样子?自鸣钟由利玛窦传入中国,其最基本的功用毫无疑问应该是计时准确。然而随着时间的流变,以来华引人信仰天主教至上神为根本的利玛窦,因为钟表的媒介,却“时”差“神”错,在去世之后被请上神坛,成为华夏大地上的一尊“利玛窦菩萨”,在香火缭绕之中,于祖师诞辰、每月的朔望以及较大的节庆如迎神赛会等活动上接受人们的祭祀。利玛窦这一段形象变迁的历史有太多需要深入思考与处理的问题。本文的主要目的正是在马相伯、方豪诸人强调利玛窦中西器物文化交流成就的基础上,从世界宗教比较研究的视角,经由古今中外的六个案例辨析,发掘此事件在文化史、社会史、思想史等方面的意义。Matteo Ricci has a folk image that has been overlooked by the academic community,which is the pou-sa or god-of-clocks.Why did Matteo Ricci become the image he least wanted to see after his death?Matteo Ricci's history of image changes in the past 400 years brings us too many problems that require deep thinking and handling.Previous academic research has overly emphasized Matteo Ricci's outstanding achievements in cultural exchange between China and the West,this article,from the perspective of comparative religion,analyzes six typical cases from ancient and modern times,both domestically and internationally,strive to uncover the significance of the pou-sa or god-of-clocks in the history of thought.

关 键 词：利玛窦 形象变迁史 方德望 方土地 利玛窦菩萨 

分 类 号：K107[历史地理—历史学]