宋元时期陈抟历史形象的书写与塑造

The Image of Chen Tuan was Written and Characterized in Song and Yuan Dynasty

当代学界及大众认知中的陈抟形象,实际上来源于宋元时期三种不同类型历史文献的书写与塑造。其一是在宋代国史及源于国史的文献中,陈抟的形象仅限于“隐士”范畴,他的生平事迹也并无神奇之处。其二是邵伯温、朱震等出于个人目的描述与书写,称陈抟传《先天图》于种放,种放再传于穆修,穆修传之于李之才,李之才传于邵雍,最终将陈抟塑造为北宋先天易学师承的源头。其三是《三洞群仙录》《太华希夷志》《历世真仙体道通鉴》等道教文献的渲染,陈抟的生平事迹显示出众多“神迹”,其个人形象呈现出近乎于“神”的种种特征,也被当代宗教学界看作宋时道教内丹派的代表人物。陈抟形象的这些变化与塑造,是宋元时期众多学者出于各自的现实需求,运用文本写作,有意识地对陈抟形象进行再塑造的结果;也是从个人书写到社会意识的演变过程,代表着“陈抟”一词最终实现了从人物形象到文化符号的转化。

Most of people know about the image of Chen Tuan which came from three types of historical documents in the Song and Yuan Dynasty.First,Chen Tuan was just a hermit who was written by historical documents.Second,Chen Tuan was thought as origin of Xian Tian Yi Xue in North Song Dynasty.The last,Chen Tuan was regarded as a Taoist by religious documents such as Li Shi Zhen Xian Ti Dao Tong Jian,Tai Hua Xi Yi Zhi.Many scholars made these changes about the image of Chen Tuan in order to own practical needs.It is also a process of evolution from personal writing to social consciousness,representing that the word"Chen Tuan"has finally realized the transformation from character image to cultural symbol.