汉代西王母神画蟾蜍舞图像研究

Toad Dance Images in Xiwangmu Divine Paintings of the Han Dynasty

蟾蜍舞图像是西王母神画中的重要图像元素,主要分布在陕西省、山东省、四川省,尤以四川省居多。在新莽至东汉初期的图像中,蟾蜍手拿具有身份标识性的红色鱼形舞具,为娱乐以太一和西王母为首的神祇而翩然起舞,舞蹈性质具有世俗性和娱神性。此后,随着西王母神话的不断发展,蟾蜍舞逐渐产生了升仙功能。在四川省,蟾蜍受道教文化的影响,手执写有死者姓名贯籍的铭旌,为死者由凡入仙、由世俗到道教仙境而舞;在山东省,蟾蜍受神仙信仰的影响,亦手拿铭旌,为死者脱凡入仙、由凡世到昆仑山仙境而舞。其中,蟾蜍舞舞姿可能取材于土伯舞。

Toad dance images are important iconographic elements in the divine paintings of Xiwangmu(Queen Mother of the West),which are mainly distributed in Shaanxi,Shandong,and Sichuan Provinces,especially in Sichuan.In the images from the Xinmang period to the early Eastern Han Dynasty,the toad holding a red fish-shaped dancing prop,which is a symbol of identity,dances to entertain the deities led by Taiyi(Supreme Unity)and Xiwangmu,and the nature of the dance is secular and entertaining.Since then,with the continuous development of the myth of Xiwangmu,the toad dance has gradually developed the function of ascension to immortality and possessed religious elements.In Sichuan Province,influenced by Taoism,toads hold the Ming Jing,a funeral streamer bearing the name and title of the deceased,and dance for the deceased to enter immortality from the mortal world to the Taoist fairyland.In Shandong Province,influenced by the belief in gods,toads also hold the Ming Jing and dance for the deceased to enter from the mortal world to the fairyland of Kunlun Mountains.Among them,the movements of toad dance may be derived from the Tubo dance.