【作者】 张丽红；

【导师】 孟兆臣；

【作者基本信息】 吉林大学 ， 中国古代文学， 2014， 博士

【摘要】 “说部”是满语“乌勒本”的汉译，为传或传记之意，满族说部是满族先民传承下来的一种长篇说唱艺术形式。满族说部作为满族先民的口传文化，内容十分丰富，既有萨满神话、部族史记、家族传说，还有英雄传奇，以及民间故事。就中有所谓“窝车库乌勒本”者，“窝车库”汉译“神龛”，“窝车库乌勒本”之意就是于“神龛”前祭祀祖先所讲述的故事，其内容演述萨满女神创世开辟之圣迹，满族说部中，“神龛”故事出现最早，这说明萨满女神创世神话是所有满族说部故事的源头。满族说部的女神神话，形成了一个庞大的体系。在这个体系中，既有萨满女神开天辟地、创造人类与万物的创世女神神话，也有萨满女神创制新的婚姻制度、保佑族人健康长寿的婚姻女神神话，既有创造生命、哺育人类、繁衍后代的生育女神神话，还有开创基业、绵延种族、造福后人的族源女神神话。其中，女神创世为故事核心，由此核心衍生了许多人物和传说，如为部族出生入死、南征北战的女罕王；救人护命、起死回生的女萨满；帷幄运筹、沙场效命的女英雄，都是对女神开辟世界行为的一种模仿，或可称为女神创世神话之变形。满族说部具有鲜明的萨满女神神话特征。在传世的满族说部作品中，满族先民集体创作的《天宫大战》是满族先民一切萨满女神神话的原型。《天宫大战》犹如满族先民心中神圣的《圣经》，是满族先民宗教信仰的根系所在，也是满族先民神话思维的源头。《天宫大战》中的人物神谱、思维特色、情节模式和创作风格影响了后世萨满神话与传说。《天宫大战》中的至上神阿布卡赫赫既是一位威名远扬的萨满女神，也是一位至高无上的天神，还是满族先民的始母神。在不同的满族神话、传说中，阿布卡赫赫已经演化为满族先民不同历史文化时期的始祖母或女首领。阿布卡赫赫成为萨满女神的最初原型，后世的萨满女神都与阿布卡赫赫有千丝万缕的联系，如：与阿布卡赫赫共同育有大千、创造万物的巴那姆赫赫、卧勒多赫赫是由阿布卡赫赫身上裂生出来的；那些辅助她拯救世人的动物神、植物神多是她创生出来的；那些开疆扩土造福生灵的萨满女神（恩切布库）、萨满（乌布西奔妈妈、西林安班玛发、尼山萨满）等等都是她派到人间的使者。在满族说部中，还有许多帮助阿布卡赫赫最终战胜恶魔耶鲁里的辅弼女神：如，为了将阿布卡赫赫从冰海中拯救出来，九色花翅大嘴巨鸭口喷烈火，用嘴在冰天上啄洞，嘴为冰凌巨块压成扁圆形，双爪也给挤成三片叶形；为了迷惑耶鲁里而大唱乌春的霍洛浑、霍洛昆女神，被耶鲁里碾成血粉，死后变成万千鸣虫，仍在为世人吟唱警世诵歌；为了救助阿布卡赫赫，其侍女奥朵西，将七彩云马赶进了耶鲁里的眼睛里，使耶鲁里因眼疼而仓皇溃逃；为了寻找耶鲁里以雪渎职之恨的都凯女神，变成了穿行地穴的小蚯蚓；为了将阿布卡赫赫从黑暗中救出，突姆火神将自己的火光毛发抛到空中变成了满天星辰，照亮世间，而自身却全身精光，变成了光秃秃、赤裸裸的白石头；为了将阿布卡赫赫从耶鲁里的手中救出，者固鲁女神化作了一朵芳香四溢的芍药花，将千万条光箭射入耶鲁里的眼中。满族说部中女神形象之丰富，上至日月星辰、下至树木花卉，旁及飞禽走兽皆赋以性命和神灵，成就其异能与战绩。满族说部的萨满女神创世神话及其变形故事，具有独特的文化价值，相关研究尚属薄弱，从女神崇拜的角度研究满族说部是一个十分重要的课题。本文在已出版的《满族口头遗产传统说部丛书》（吉林人民出版社）的基础上，结合东北民间神话、传说、民间故事、风俗礼仪等内容，研究满族说部中的女神故事。旨在还原满族说部所产生的文化语境，运用文献解读、跨文化比较、原型批评等方法探讨满族说部的萨满宗教特征，挖掘满族说部的文化意义。论文诸章如下：第一章“萨满女神神谱研究”。撰建总谱，考绘世系，简述神迹。第二章“创世女神研究”，探讨原始女神、生育女神、婚姻女神、始祖女神，阐释其文化意义。第三章“自然女神研究（上）”。论证火女神、柳女神、星辰女神，结合古代文献和考古资料阐释源流。第四章“自然女神研究（下）”。论证乌鸦女神、喜鹊女神、刺猬女神、鹰女神，比较其他民族、文化之神话传说，说明动物女神的独特内涵。附章“满族说部女神的文化渊源”，追溯满族说部女神崇拜的文化源头，阐释其与红山文化女神崇拜仪式的关系，揭示女神神话之渊源。更多还原

【Abstract】 Shuobu is the translation of “ulabun” in Manchu language which means commentarieson classics or biographies，it is a long oral form that is inherited from Manchu ancestors.The Manchu Shuo Bu as Manchu ancients’ oral culture, is very rich in content. It hasboth shaman myth, tribe historical records, family and hero legend and folk stories. Shuobuhas a full of varieties, but the most important is the stories before the baldachine (that isulabun). The baldachine is the ancestral tablet. It tell us shaman goddess opens the mysteryof creation. In the Manchu ShuiBu,“shrine” story appears first, which shows that the Manchushaman goddess ShuiBu is the source of the story.The goddess myth in Manchu Shuobu, constitute a large mythology system. In thesystem, there is a wide variety of myths including the Myth of Creation Goddess which isabout the Shamanism goddess creating human beings as well as universe, and also the Mythof Marriage Goddess relating to the Shamanism goddess contriving new institution ofmarriage so as to bless people longevity and health, the Myth of Fertility Goddess whocreated life and nurtured human reproduction, and also the Myth of Posterity Source Goddesscreating a foundation for racial benefit. In the system, there is a goddess or female culture, thehero act of creation was repeatedly told. That is the goddess of the creation of the world andthe mythical goddess was repeated and read. The female King Khan who fought for the tribe’ssurvival as well as the female Shaman who rescued human beings under the land of the deadback to life in spite of hardships and dangers are both an imitation of the goddess of creation.The heroine who ran commands from a battlefield, also the same deformation of the GoddessCreation Myths.Compared with the other ethnic groups’, Manchu Ulabun has distinctive characteristics ofthe mythology of Shamanism goddess. In the Manchu Ulabun that has been passed down,The Heaven Battles is the origin of the Manchu ancient’s prototype of the Shaman mythicalgoddess. The Heaven Battles is just like the Holy Bible in the Manchu ancients’ mind, andalso the forging source of their historical and cultural concepts and ways of thinking. The Shaman myth and legends’ character theogony, thinking characteristic, plot pattern andwriting style have been influenced by the Heaven Battles.The famed Shamanism goddess Abkha Hehe is not only a supreme goddess, but also themother god of Manchu ancestors in the myth of the Heaven Battles. In different Manchumyths and legends, Abkha Hehe has evolved into the mother god or the chief of Manchuancestors in different historical and cultural period. Then Abkha Hehe who has became theprototypes of Shamanism goddess, are inextricably linked to these Shamanism goddessimages in later ages. Respectively they are: Shamanism goddess Barnum Hehe and WeldoHehe, who created the world with Abkha Hehe, are created by her. She also created the godof animals and plants to assist her on saving human beings. Some Shamanism goddess whohave expanded the domain and benefit mankind such as Enduri buku, Umesiben mama,Xilinanbanmafa and Shaman in Ni Mountain are the messengers descended to the world byher.In Manchu Ulabun, there are also many Natural Gods and Animal Gods who help AbkhaHehe defeat the demon Yeluli. For instance, the giant duck with nine-color wing and largebeak belched fire and pecked at frozen sea to save Abkha Hehe from it. Finally the beaksqueezed into flat and round by huge ice cakes and the claws squeezed into three-leaf shape.Also, Huo luohun and Huo luokun Goddess who sang in praise of Wu Chun in order todelude Yeluli was crushed into blood powder by Yeluli. After died, they become thousands ofinsects to warn and praise people by songs. To help Abkha Hehe, Aoduoxi, the maid of AbkhaHehe, drove the seven-color cloud horses that she grazed into Yeluli’ eyes. It made his eyesbit by insects. The Dukai Goddess became a little earthworm crawling in the soil, for shewanted to revenge the malpractice of Yeluli.For the sake of saving Abkha Hehe from the dark side, the Fire God Tumu threw her hairinto the sky, then it turned into tens of thousands of stars, the stars light up the world, whileshe herself became a bare, stark white stone; in order to save Abkha Hehe from Yale, thegoddess with the light of her shirt turned her soul into the star of peony with fragrance, sheshot ten millions of arrows in the Yale’s eyes, made the demon ignominiously fled back to theearth, and so on, all of the goddess of the animals and plants became the worship goddess ofthe Manchu ancestors. In addition, the manchu ancestors are based on Animism, such as animal goddess of eagle, bear, pythons, pig, fish etc., and then goddess of nature, such astrees, flowers, stars and so on, these goddess image consist of a goddess of the theogony.It is a very important and interesting topic to study Manchu Shuobu from the point ofgoddess worship. It announces many problems that haven’t noticed before. Such as the“normal form” function problems about the story of Shamanism goddess creating the world,the problems about the Shamanism goddess having transformed other female images, aboutthe story of Shamanism goddess having replaced common folktales and so on.The achievements of Manchu Shuobu study are not so fruitful. We only have onedoctoral dissertation, named “The Study of Manchu Shamanism legends” by Gu Ying.Especially, the special study of the Shamanism goddess stories in Manchu Shuobu is weaker,because we have no academic monograph about it. This is relative weak compared with theinherit and the specific text understanding of Manchu Shuobu. So this topic is potential andvaluable as a study.This essay focused on the study of Shamanism goddess story in Manchu Shuobutraditional heritage that had published by Jilin People’s Publishing House. And it alsocombines the myths, tales, folktales, customs and ceremonies that extensive spread in thenortheast. This text tries best to restore the cultural content that produced by Manchu Shuobu.It discusses the Shamanism goddess story in Manchu Shuobu in the context of goddesscivilization in the northeast. It talks about the goddess’s characteristics using literatureresearch,the cultural comparison, archetypal criticism, etc. And it excavates the specialcultural values.The chapters as follows:The first chapter “the goddess of spectrum research of Manchu”. It is focuses on thescore of painting lineage and the outline signs.The second chapter “the goddess of creation”, it demonstrates the original goddess,fertility goddess, marriage goddess and father goddess, then interprets its culturalsignificance.The third chapter “natural goddess research(1)”. It demonstrates the fire goddess, willowgoddess, star goddess, which combine ancient documents and archaeological data interpretation of the origin.The fourth chapter “natural goddess research”(2). It demonstrates raven goddess,magpie goddess, hedgehog goddess and eagle goddess, which compares other ethnic groupsand cultural legends and states animal goddess’ unique connotation.Attached to the chapter “cultural origin of Manchu shaman culture goddess”, whichtraces the culture source of the Manchu ShuiBu shaman goddess worship and explains itsrelationship with the goddess worship of hongshan culture, then reveals the origin of goddessmythology.更多还原