【摘要】：三山國王作為潮汕地區(qū)本地特有的、最常遇到的神yG之一,“護國庇民”為其核心要旨,自隋朝肇跡伊始,距今已有1400多年。關(guān)于三山國王崇拜的由來,大家普遍接受劉希孟撰寫的《潮州路明貺三山國王廟記》這一規(guī)范性的解釋。三山國王信仰發(fā)展分為兩個階段,第一個階段主要是隋、唐、宋、元四個朝代的官方推動;第二個階段是鼎盛發(fā)展與流播海外并存時期,主要是在民間自在發(fā)展與當(dāng)?shù)剜l(xiāng)紳士大夫的極力宣揚,同時隨著當(dāng)時潮汕人民大量移墾海外異鄉(xiāng),三山國王作為人們墾殖異鄉(xiāng)的精神支柱和故鄉(xiāng)桑梓的象征,也隨之流播至海外,發(fā)展至現(xiàn)在臺灣地區(qū)、東南亞各國等地均分布有三山國王廟。三山國王信仰的信眾群體和廟宇分布地域甚廣,并且形成了一整套具有特色的祀神習(xí)俗。 三山國王非佛非道,無經(jīng)文教義,不受語言地域限制,它是以山神這種自然神為本質(zhì)存在,具有社神身份,在地方其他民間神明中具有“王”的地位。在歷史發(fā)展歷程中,三山國王信仰和王朝教化與地域社會發(fā)展、官府與鄉(xiāng)民長期契合互動的過程有著十分微妙的關(guān)系,三山國王充當(dāng)著雙方互動契合的文化媒介。而且,三山國王信仰在潮汕地域及海外異鄉(xiāng)流播,在原鄉(xiāng)三山祖廟與海外三山國王廟、海外流播地域內(nèi)廟宇之間存在的“分香”傳統(tǒng),體現(xiàn)出地緣文化上的認(rèn)同;近些年來,海外信眾返鄉(xiāng)探訪祖廟活動愈發(fā)頻繁,也表現(xiàn)出其祖籍認(rèn)同的文化象征地位。 三山國王信仰作為民間信仰,它滲透到當(dāng)?shù)厣鐣母鱾�角落,對當(dāng)?shù)孛癖姷娜粘Ｉ詈蜕鐣l(fā)展有著一定的影響。在中國的現(xiàn)代化過程中,人們不免會思考民間信仰作為一種傳統(tǒng)文化是否與現(xiàn)代化的需要相適應(yīng)這個問題。三山國王信仰作為潮汕文化的組成部分,它具有傳承傳統(tǒng)文化、成為族群文化的分界、促進天人和諧等文化價值和藝術(shù)娛樂、教化民眾、社會管理、文化認(rèn)同等社會功能,這些對于構(gòu)建潮汕地區(qū)和諧社會、促進地區(qū)發(fā)展有著深刻的現(xiàn)實意義。
[Abstract]:As one of the most common yG gods in Chaoshan, Sanshan King "protecting the country and defending the people" is its core tenet. It has been more than 1400 years since the beginning of the Sui Dynasty. As to the origin of the worship of the King of the three Mountains, it is generally accepted that Liu Ximeng's "Chaozhou Lu Ming Kuang San Shan King's Temple" is a normative interpretation. The three mountain kings' belief development is divided into two stages. The first stage is mainly promoted by the Sui, Tang, Song and Yuan dynasties. It was mainly in the free development of the people and the vigorous propaganda of the local gentry and literati. At the same time, with the people of Chaoshan and Shantou moving in large numbers to reclaim foreign lands, King Sanshan was regarded as the spiritual pillar of people's cultivation and cultivation of foreign lands and the symbol of the hometown of Sangzi. It also spread overseas, and now Taiwan, Southeast Asian countries and other places have three mountains of King Temple. The religious groups and temples of Sanshan King were widely distributed and formed a set of special customs of worship to gods. The King of the three Mountains is not a Buddha or a Taoist, has no scripture doctrine, and is not restricted by the language region. It is based on the nature of the mountain god and has the status of "king" among other local folk deities. In the course of historical development, there is a very delicate relationship between the religious belief and dynasty education and the development of regional society, and the long-term interaction between the government and the villagers. The three-mountain king acts as the cultural medium for the interaction between the two sides Moreover, the belief of the three mountain kings in Chaoshan and other places abroad, the tradition of "scented incense" existing between the ancestral temples of Sanshan and the three mountains abroad, and the temples in the overseas regions of the three mountains reflects the geographical and cultural identity; in recent years, Overseas believers return home to visit ancestral temples more frequently, also showing their ancestral identity as a cultural symbol. As a folk belief, Sanshan King's belief permeates every corner of the local society and has a certain influence on the daily life and social development of the local people. In the course of China's modernization, people can't help thinking about whether folk belief, as a kind of traditional culture, adapts to the need of modernization. As a part of Chaoshan culture, Sanshan King's belief has the social functions of inheriting traditional culture, becoming the dividing line of ethnic culture, promoting harmony of nature and man, and artistic entertainment, enlightening people, social management, cultural identity, etc. These are of profound practical significance for building a harmonious society in Chaoshan and promoting regional development.
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K29

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