【作者】 刘彩霞；

【导师】 尚丽新；

【作者基本信息】 山西大学 ， 中国古代文学， 2022， 硕士

【摘要】 宝卷作为一种集叙事、信仰、仪式、说唱于一体复合型说唱文本,具有信仰、教化、娱乐的多重功能。《洛阳桥宝卷》就是其中极具代表性的一种。北宋蔡襄修造洛阳桥本为史实,在后世逐渐演化为蔡状元造洛阳桥的民间传说。这一传说从明代开始在戏曲和说唱中极为盛行,至晚在清道光年间进入吴方言区宝卷中,被改编为《洛阳桥宝卷》,此后200多年来,《洛阳桥宝卷》一直服务于吴语区的受生信仰。论文以《洛阳桥宝卷》为研究对象,着重探讨《洛阳桥宝卷》如何将世俗故事转变为信仰文本,及其作为信仰文本如何在仪式中实现信仰的践履。论文主体分为以下三个部分:第一章“《洛阳桥宝卷》概况”:首先梳理了《洛阳桥宝卷》的重要版本,指出各本大体相似,细部情节和叙事要素有诸般差异。接着通过对各本的叙事分析,推导出它一直发生着与时俱进的演变。在版本梳理、叙事分析的基础上,进一步揭示出《洛阳桥宝卷》是专为受生信仰编创的信仰文本,受生祈福、孝敬双亲是它的主要功能。第二章“受生信仰下《洛阳桥宝卷》的生成”:探讨蔡状元造洛阳桥故事如何取代原有的唐王游地狱的《受生宝卷》成为吴方言区标志性的“还受生”文本。受生信仰普遍存在于吴语区各地,在宝卷系统中已经存在唐王游地狱的《受生宝卷》;但清中叶以来蔡状元造桥传说由闽入吴,且在各类民间文艺中大盛,导致现实中的洛阳桥被虚化成阳落阴生、沟通阴阳的洛阳桥,由此产生了《洛阳桥宝卷》。《洛阳桥宝卷》对蔡状元造桥故事改编非常典型地体现了民间文艺与民间信仰的互动。第三章“仪式中的《洛阳桥宝卷》”:展示了当今吴语区尤其是常熟地区的受生仪式,强调《洛阳桥宝卷》仍在环太湖流域的受生仪式中宣演,且作为仪式中的一个重要环节,它的宣唱是仪式的主体部分。由于环太湖流域受生仪式更多地表现出孝敬双亲、家庭和睦的主题,《洛阳桥宝卷》的文本也发生了与时俱进的改变。总之,《洛阳桥宝卷》的产生和演变具体地展现出民间文艺与民间信仰的良性互动。民间信仰汲取民间文艺的精华,造成了民间宝卷的故事化、世俗化发展倾向,充分满足了民众的信仰、教化、娱乐需求。而且,当《洛阳桥宝卷》被置于受生仪式之中,静态的文本与动态的受生仪式相结合,使民众的受生信仰得以实现;映射出宝卷所特有的信仰劝善特质,凸显出宝卷在民间信仰和民间文化中的重要地位。更多还原

【Abstract】 As a kind of compound rap text integrating narrative,faith,ritual and rap,Bao Juan has multiple functions of faith,enlightenment and entertainment.The Bao Juan of Luoyang Bridge is one of the most representative ones.It is a historical fact that Cai Xiang built Luoyang Bridge in the Northern Song Dynasty,which gradually evolved into the folklore of Cai Zhuangyuan building Luoyang Bridge in later generations.This legend has been very popular in opera and rap since the Ming Dynasty.In the Daoguang reign of the Qing Dynasty,it entered the Bao Juan of Wu Dialect District and was adapted into the Bao Juan of Luoyang Bridge.Since then,the Bao Juan has served the belief of shousheng in Wu Language District for more than 200 years.The paper takes the Bao Juan of Luoyang Bridge as the research object,and focuses on how to transform the secular story into the faith text,and how it realizes the practice of faith in ritual as a faith text.The main body of the paper is divided into the following three parts:The first chapter "Overview of The Bao Juan of Luoyang Bridge" : Firstly,it sorts out the important editions of the Bao Juan of Luoyang Bridge and points out that they are similar in general,and there are various differences in details and narrative elements.Then,through the narrative analysis of each veision,it is deduced that it has been evolving with the times.On the basis of version combing and narrative analysis,it is further revealed that Bao Juan of Luoyang Bridge is a faith text specially created for the belief of shousheng,and the shousheng pray for blessings and honor their parents are its main functions.The second chapter "The Generation of Bao Juan of Luoyang Bridge under the Belief of Shousheng" : To discuss how CAI Zhuangyuan’s story of building Luoyang Bridge replaced the original Bao Juan of shousheng of the King of Tang Dynasty’s visit to hell and became the symbolic text of "Returning shousheng" in Wu dialect area.The belief of shousheng is widespread in all parts of Wuyu district,and in the Bao Juan system,there has been the Bao Juan of shousheng,in which the King of Tang Dynasty travels to hell;However,since the mid-Qing Dynasty,the legend of CAI Zhuangyuan’s bridge building entered Wu dialect area from Fujian Province and flourished in various folk literature and art,which led to the Luoyang Bridge in reality being virtualized into a Luoyang Bridge,where Yang falls and Yin grows,and Yin and Yang communicate,thus producing the Bao Juan of Luoyang Bridge.The adaptation of CAI Zhuangyuan’s bridge-building story in the Bao Juan of Luoyang Bridge embodies the interaction between folk literature and belief.The third chapter "Bao Juan of Luoyang Bridge in Ceremony" : shows the shousheng ceremony in wu-speaking area,especially in Changshu area.It emphasizes that the Bao Juan of Luoyang Bridge is still performed in the shousheng ceremony around the Taihu Lake Basin,and as an important link in the ceremony,its singing is the main part of the ceremony.As the shousheng ceremony around the Taihu Lake basin showed more themes of filial piety and family harmony,the text of Bao Juan of Luoyang Bridge also changed with the times.In a word,the emergence and evolution of Bao Juan of Luoyang Bridge specifically show the benign interaction between folk literature and faith.Folk belief absorbs the essence of folk literature and art,resulting in the development tendency of folk Bao Juan to be story-like and secularized,which fully meets the needs of people for belief,enlightenment and entertainment.Moreover,when the Bao Juan of Luoyang Bridge is placed in the shousheng ceremony,the static text is combined with the dynamic shousheng ceremony,so that the people’s shousheng belief can be realized.It reflects the unique character of the Bao Juan to faith and enlightenment and highlights the important position of the Bao Juan in folk belief and culture.更多还原