暴君·神祇·祖先--杨干贞形象嬗变的历史人类学讨论

Tyrant,Local God,Or Heroic Ancestor——A Historical Anthropology Discussion on the Transmutation of Yang Gan-Zhen’s image

历史人物的形象建构不可避免地受到史籍书写者的立场与情感倾向等现实因素的制约,因而不同时代、不同取向会导致对同一人物的褒贬大相径庭。大义宁国国王杨干贞的形象,呈现出暴君、神祇(本主)与英雄祖先的不同面相,究其原因,暴君的定型最初是由于相关材料的书写有着大理国段氏集团强烈的意识形态建构的诉求,历经后世对段氏政权怀着“故国之思”的知识精英的书写后逐渐尘埃落定,而被树为神祇(本主)则源于杨氏起兵之地的下属民众及桑梓百姓的集体记忆,英雄祖先的形象出自自称杨干贞后裔的杨氏族人的书写与表述。后二者中都隐含着基于现实社会情境的利益博弈的考量。但不同的形象建构处于“各自表述”的状态,反映出精英的文字书写与民众精神世界诉求“并行不悖”的文化生态。

The construction of the image of historical figures is inevitably conditioned by many factors,which include the position and emotions of the authors of history records,etc.Thus,different eras and tendencies can lead to very different images of the same figure.The image of Yang Gan-zhen(杨干贞),the king of the Da Yining Kingdom(大义宁国),presents the difference between a tyrant,a local god(benzhu,本主)and a heroic ancestor.The first image of Yang Gan-zhen as a tyrant was originally derived from historical records,which reflected the strong ideological construction of the Duan group in Dali.This image was settled thanks to the continuous writing of the intellectual elite who had"the miss of the homeland"for the Duan regime in later times.The second image of Yang Gan-zhen as a local god was originally derived from the collective memory of his underlings and the folks of his hometown.The third image of Yang Gan-zhen as a heroic ancestor came from the writings and representations of Yang clansmen who claim to be descendants of Yang Gan-zhen.In the latter two images,the consideration of the game of interests based on the real social situation is implied.However,the different image constructions are in the state of“separate representations”,reflecting the cultural ecology of"parallelism"between the elite’s writing and the people’s spiritual world demands.