陳靖姑信仰傳說與溫州娘娘詞研究

Abstract

陳靖姑信仰自福建地區發源，其影響逐漸覆蓋福建全境，並幅散至浙南台灣等地。當陳靖姑信仰在各地流播之中，會與各地不同的地方傳統結合，在宗教儀式、民間文學、說唱戲劇等方面有各具特色的展演。陳靖姑之相關研究觸及文學、民俗學、宗教學、人類學等諸多領域，其複雜程度可見一斑。筆者關涉陳靖姑信仰與傳說的發端與演進，進而對其在溫州地區的流播時與地方說唱曲藝溫州鼓詞結合而成的「娘娘詞」展開剖析，是為研究表現陳靖姑信仰文化之特色的關照點。 文章以「娘娘詞」——溫州地區陳靖姑傳說影響最大的民間敘事形式為研究對象，討論一個流傳於閩浙地區的神明信仰及其傳說，如何進入一個遷入地，如何為了適應該地的特點與需求，演變成型並扎根的過程。在這個過程中，涉及神明傳說與信仰之間的發展關係、地方曲藝與神明傳說之間的演變關係，以及地方曲藝與民間信仰的互動關係。 因此，筆者就陳靖姑信仰與傳說的發源談起，探究其原始面貌和發展過程，及其所牽涉的社會與文化環境。進而分析處於次信仰圈的浙南溫州，討論陳靖姑信仰何傳說如何進入到浙南溫州並產生的變化。以「娘娘詞」為對象，探究具有地域特色的曲藝溫州鼓詞如何配合陳靖姑信仰與傳說展開演繹，分析信仰與傳說在溫州流播的過程產生地方性嬗變的表現，並討論該信仰與傳說在生發地與遷入地所承載的文化意涵_。最後提出一種詮釋，試著將民間曲藝與神明傳說、民間信仰三個因素包容於一個合理清晰的架構之中。

The cult of Chen Jinggu, whose ancestral shrine is at the Linshui Temple of Gutian, developed gradually from eastern Fujian province to the whole one, and came to southern Zhejiang, Taiwan, etc. When spreading from one place to another, Chen Jinggu cult may be assimilated into different local traditions and the ways of displaying it were generally similar but differed with characteristics in the performances of religious rites, folk literatures, narrative-singing arts, etc. It is evident that researches on Chen Jinggu are complicated since they are related to literatures, folkloristics, religious studies, anthropology, and other fields. In order to pinpoint the features of Chen Jinggu’s cult, the author investigated Her cult and legend in terms of their spread over Wenzhou region, and Niangniang Guci, formed by a combination of both them and Wenzhou Guci, a local narrating and singing art. On the subject of Niangniang Guci, a folk narrative form on which Her legend had had the largest influence, this thesis discussed Chen Jinggu’s spiritual belief and legend in Fujian and Zhejiang in terms of their development process in an immigrant area including evolving, molding, and rooting as a result of adaptation to local characteristics and demands. This process was involved in the development relationship between spiritual legends and folk religions, the evolutionary relationship between local narrative-singing arts and spiritual legends, and then the interactive relationship between local narrative-singing arts and folk religions. Thus, the author started from discussing the origin of Chen Jinggu cult and legend, their original features and development processes, and their social and cultural environment involved. Secondly, Wenzhou regions, the sub-sphere of the religion, was analyzed to illustrate how Chen Jinggu cult and legend entered these regions and their changes. Next, Niangniang Guci was explored to present how regionally characterized Wenzhou Guci coordinated with Chen Jinggu cult and legend to launch the performance, to analyze their local evolution during the spreading process, and to discuss their cultural connotations in the generating and immigrating area. Finally, an interpretation was proposed, trying to incorporate Quyi, spiritual legends, and folk religions into a reasonable and clear framework.