从阎摩到阎王:浅析印度阎摩形象的演变与东传

On the Evolution and Spread of the Image of Yama of India to East:from Yama to King Yenlo

阎罗王是我国民间信仰和各种叙事文学中家喻户晓的人物形象,其原型为印度教典籍中的阎摩。早期的“吠陀”文献中,阎摩是光辉的太阳神之子、祖先之王,居住在充满欢乐的宫殿中。随着认知水平的提高,人们开始对死亡产生畏惧,对死后世界的想象渐渐染上恐怖色彩。与此同时,因果报应、业报轮回的宗教哲学理论获得了极大的发展。在这几种因素的共同作用下,经过“史诗”和“往世书”编纂者的改造和刻画,阎摩脱离原本的天神形象,逐步从公正严明、富有同情心的审判者演化为相貌可怕、令人闻风丧胆的惩恶者,他所掌管的死后世界也变成以各种残酷刑罚惩处恶人的地狱。佛教吸收了印度教的阎摩形象和多重地狱体系,公元前后将其带入中国内地。受其影响,南北朝时期,中国文学作品中初现系统、多重的阴司体制。隋唐时期,阎罗王逐渐取代泰山府君,成为冥界的执掌者,并且其形象中出现权力分化与职业化的趋向。自宋朝开始,有关阎罗王和地狱的文学作品不仅数量比以往多,而且情节和叙事方式也更加丰富、细致、多样。至明清时代,来自印度的阎摩连同其执掌的地狱已经彻底实现本土化,成为中国民间信仰和文学中的成熟意象。在此框架内,后世的文人通过自己的想象和创造,为世人展现出各种各样或严肃或活泼的阎王故事。

King Yenlo,whose prototype is Yama of Hinduism,is a household figure in Chinese folk belief and narrative literature.After borrowing the image of Yama as well as the theory of hell from Hinduism,Buddhism brought them into the mainland of China in East Han Dynasty.Under its influence,the systematic system of Naraka in Chinese literature began to take shape in the northern and Southern Dynasties.In the Sui and Tang Dynasties,Yama was formally introduced into literature works and became the real ruler of Naraka in place of Tai-shan Fu-jun.Apart from the original feature,new local factors have been added to those Yama tales.Thereafter,Since the Song Dynasty,the description of Yama and Naraka in Chinese literature works is getting more and more vivid and convincing.In the Ming and Qing Dynasties,Yama of Hinduism has been completely localized and became a mature image in Chinese folk beliefs and literature.In this framework,the later literati has shown the world a variety of Yenlo stories through their own imagination and creation.