济公故事演变及其文化阐释

【作者】 吕堃；

【导师】 宁稼雨；

【作者基本信息】 南开大学 ， 中国古代文学， 2009， 博士

【摘要】 济公本为南宋佛教临济宗的一名异僧,法号道济,因行为疯颠而被称为济颠,民间则习惯尊称其为济公。历来关于济公故事的文献材料,主要保存在佛教典籍、文人诗文笔记、方志和俗文学中,其中俗文学对于济公故事、济公形象的产生和演变发挥了最为重要的作用,对于普通百姓而言,了解济公主要以这些俗文学为途径。济公故事由南宋至民国历经八百余年,文献资料相对较多而且分布于不同领域和不同文学体裁当中,因此本文主要借鉴主题学的研究方法,在对大量济公文献梳理综述的基础上对济公故事演变给予文化上的阐析,主要着眼点在以下三个方面:一、济公故事由历史而文学。济公,经过民间传说的不断附会,逐渐由历史真实人物走向文学中的虚构神侠形象。与济公形象变化同步,济公故事情节逐渐丰富起来,不同来源的故事汇聚于此。随着越来越多的文学表现手法的加入,济公故事从平实的史传文体逐渐演变为虚构的章回体通俗小说。二、济公故事雅俗之变。济公故事分为杭州与北京两大系统,分别以二者作为独立单元来考察,会发现故事的雅俗演变有着相似的轨迹。从故事的外部形态来看,故事的传播媒介均由口头故事到文本小说,杭州济公小说由济颠陶真到沈孟柈述《钱塘湖隐济颠禅师语录》等;北京济公小说由济公传鼓词到济公评书再到《评演济公传》等。故事的传播受众均由一般民众向知识阶层转移。在故事外在形态转变的同时,济公故事内涵中道德伦理成份逐渐加重,小说教化功能愈发明显。三、济公故事宗教信仰演变。济公本为佛门弟子,早期济公形象带有浓重的佛教色彩,《钱塘湖隐济颠禅师语录》中仍然保留了比较明显的禅宗思想,但这种禅宗思想在后来的济公小说中逐渐淡化,《醉菩提》中已消失殆尽,而《评演济公传》主要反映了三教合一的社会现实。济公作为民间信仰的神祗,其信仰经历了由舍利信仰到神子信仰再到巫术信仰的演变过程。济公信仰在清末民间宗教一贯道达到鼎盛,济公成为教派主神,担当乩仙重任,一贯道中大部分善书都署有济公的名字,济公在民间宗教中至高的神阶使济公信仰具有了更为广泛而强大的现实影响力。另外济公罗汉信仰也比较值得注意,在宋代罗汉信仰兴盛的背景之下,济公被尊奉为罗汉。济公故事中他的罗汉身份一而贯之,不过他由普通金身罗汉变成降龙罗汉,实质上反映了济公罗汉信仰的变化。济公故事与济公形象的演变,反映了历史与文学、雅俗文化、民间信仰与制度化宗教等多方面的文化内涵。在这种演变的背后,起支配作用的是错综复杂的社会文化力量,主要包括文人阶层、佛教团体和地方民众,多种社会力量以其自身的文化传统整合济公故事,推动济公故事与济公形象的发展演变。更多还原

【Abstract】 Jigong whose religious name is Daoji, is a peculiar Buddhism monk of the Linji sect in South Song dynasty. Jigong’s usually called Crazy Ji for his madness in the folklore. The documents about Jigong are mainly conserved by the means of the poets, notes, chorography and light literature. Light literature plays the most important role in the origin and development of Jigong’s stories, by which the mass know about Jigong.Jigong’s stories have been prevalent for 800 years from South Song Dynasty to the Repbulic of China. There are lots of documents about Jigong in different areas. This dissertation employs the Thematics strategy to analyze the evolvement of the Jigong’s stories in the base of a mass of coordinated documents, which as follows:Firstly, Jigong’s stories evolve from histories to literature. In the process of added more and more by the folklore, Jigong is changed from the true monk to the protagonist of the romance. Meanwhile the influx of different Jigong’s stories make it more and more complex. Jigong’s stories develop from the ordinary biography to romance.Secondly, Jigong’s stories evolve from light literature to high literature. There are Hangzhou’s and Beijing’s systems of Jigong’s stories, both of which evolve in the same track that’s from light literature to high literature. The original stories of Jigong are folklores, which diffuse from the mass to the intellect, from the folklore to the novel. Hangzhou’s system is from Crazy Ji Taozhen to Shenmengban’s The Ana of Crazy Ji in Qiantang Lake; Beijing’s system is from some oral performance to the romance called Biography of Jigong. In the process, Jigong’s stories contain more and more moral values gradually.Thirdly, the religious faith transforms in Jigong’s stories. Jigong is a Buddhism monk in the beginning. For example there are many Chan’s ideas in the The Ana of Crazy Ji in Qiantang Lake. And then, the Buddhism ideas are fading gradually and disappear ultimately in the Bodhi and Biography of Jigong. The folk faith on Jigong changes from dagoba faith to divine son and to the necromancy. The faith on Jigong culminates in Yiguan Dao in the late Qing Dynasty. In this religion, Jigong is the main god and has many magic abilities. Jigong is recorded in most of the religious books in many folk religion, which indicates that Jigong is very important. And we should pay more attention to the arhat faith about Jigong, which comes on to in Song and Qing Dynasty.There are many cultural meanings, such as history and literature, light and high culture, folk faith and religion, in the transform of Jigong’s figure and stories. Thecultural power of the society——the intellect, Buddhism group and localpeople——makes Jigong’s figure and stories change from one to another.更多还原