华东师范大学学报(哲学社会科学版) ›› 2001, Vol. 33 ›› Issue (6): 72-78, 128.doi: 10.16382/j.cnki.1000-5579.2001.06.012

• 文学 语言 • 上一篇    下一篇

村落少女情怀的艺能化展示——松江井凌桥村与联建村坑三姑娘信仰祭祀的调查

陈勤建   

  • 收稿日期:2001-06-15 出版日期:2001-11-01 发布日期:2025-12-19

A Ritual Performance of Chinese Village Girls——An Investigation into the Cult of Kengsan Maiden in Two Villages of Songjiang County

Qin-jian CHEN   

  • Received:2001-06-15 Online:2001-11-01 Published:2025-12-19

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摘要：

在20世纪五、六十年代以前, 普遍流行于松江农村地区的坑三姑娘, 曾是当地少女所钟爱的女性信仰艺能活动。信仰祭祀艺能, 它是民俗的祭典、信仰、仪式等活动中伴有一定的言行程序和节律的传承。其之所以为艺能, 是因为该言行必然会激发并能使人持续受到感染某种情感: 在崇敬、信仰的背后, 潜藏着美的欲望和艺术萌芽。它是传统民间文艺中的信仰祭祀艺能。虽然, 它比较原始稚拙, 且在村落之间, 还存在一定的差异, 但是, 其信仰祭祀的展现过程, 一环扣一环, 层层展开, 如同戏剧式的展演过程, 程式化艺术的倾向已见端倪。“艺能一般说来没有与神灵的祭祀分离”, 它有神灵信仰的迷信因素, 但是, 与宗教和一般的神灵信仰相比, 迷信的色彩要弱得多。现实展示较多的是萌芽状态的戏剧表演功能。形式上在迎神、敬神、请神、送神, 实际上, 更多的是在展现少女们自娱自乐、自我渲泄情感、自我瞳憬幸福生活的女性情怀。

关键词: 艺能, 坑三姑娘, 信仰祭祀, 祭祀艺术

Abstract:

Until 1960's a ritual performance focusing on the cult of Kengsan Maiden was prevalent in the Songjiang region, south of Shanghai. The performance consists of a complex sequence that unfolds itself like an embryonic dramatic form. There are four main steps: going out to meet the deity, showing veneration, to the deity, inviting the deity to act, and sending off the deity. In this regard the performance parallels other forms of popular veneration in China, where the gods are invited to come down, asked to carry out a particular ritual or magical action and then sent off with fanfare. In China deities are not considered to exist in one place all the time but to travel from place to place. The performance is at once a form of religious veneration, a source of entertainment, and an outlet for creative and emotional expression by young women who are the primary practitioners.

Key words: ritual performance, Kengsan Maiden, religious veneration