觸君父的至德元帥：論太歲神殷郊的形象問題

Abstract

太歲神是華人信仰當中的重要神祗之一，在宋代便被諸道派人格化並起名為殷郊。除了道教典籍，殷郊也出現在多部文學作品中，且形象更是多變。在西方宗教學界，視覺文化近期再度受到關注，一些學者也提倡促進視覺文化研究與宗教研究之間的對話。反觀華人宗教學界，由於長期著重文本與儀式的研究，對於神明的形象問題則有所忽略，而殷郊信仰便是其中一例。實際上，涉及到殷郊信仰的論著並不乏，但是關於其形象與接受的問題則有待進一步研究。有鑒於此，本文旨在通過分析宗教文本和文學文本中的殷郊形象，以此探討神明形象變遷所反映出的宗教形態。本文主張，神明的形象塑造不僅是宗教與文學的互動結果的具體表現，也是宗教競爭的產物之一。學者若欲還原這類互動和競爭關系，則需分別對於神明的稱謂、面貌特徵及配備器具三大要素進行考古和考證。

Tai Sui is a major deity within the complex of Chinese popular religious beliefs that was personified by the various Daoist ritual lineages in the Song dynasty and was given the title Yin Jiao. Outside of Daoist canonical works, Yin Jiao also appears in many literary works, where visual representations of the god are even more varied. In western religious studies, visual culture is again receiving much attention in recent years, with some scholars advocating further dialogue between research in visual culture and religious studies. However, in Chinese academic circles, because of the long-term research focus on texts and ritual, the question of visual representations of deities has been neglected to some extent; depictions of Yin Jiao are no exception. In fact, this issue involves the many written works concerning Yin Jiao beliefs; however, on the questions related to representations and their reception, further work remains to be done. In light of these issues, this paper aims to explore those religious elements reflected by the changes in images of gods through an analysis of Yin Jiao`s representations in religious texts and literature. In this article, I argue that the portrayals of divinity images are not only concrete expressions of the results of the interaction between religion and literature, but also a product of religious competition. If scholars wish to understand this type of interaction and competition, then they must begin to distinguish deities regarding three significant elements--their titles, facial features, and accompanying implements-as they undertake archaeological and textual studies.