明末天主教圣母图像所见的圣母神化与观音信仰
Deification of the Virgin Mary and the Cult of Guanyin in the Catholic Madonna Images from Late-Ming China
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摘要: 20世纪初西安所发现的女性抱子像,近来研究有两种说法,一是认为此像跟方济会有关,二是与耶稣会有关。方济会之说,称其为中国的白衣送子观音像,而图像来源来自方济会士;耶稣会之说,称其为罗马圣母抱子像的中国复制。在图像的文化交流脉络下,它可能既作为观音,也作为天主圣母。图像认定在跨文化交流下的复杂性,透露了天主教圣母抱子像可能与中国的视觉互动,远超出传教士所能掌控的图像学。其实,并没有更多的方济会传教遗存得以重建其脉络,晚明天主圣母图像的引入中国,其耶稣会之历史脉络或更见具体。而观音/圣母双重图像问题的解释,对中国天主教的历史或相应议题,有何意义上的呈现,过去少见讨论,本文从这个思考提出对图像初步的解读。明末以来所见的圣母像,是以圣母为"天后"的定义为中心,圣母死后升天而能完备其天后的独特地位。从这个天主教图像学的立场观之,圣母确实可以为"神"。而无原罪圣母是主张圣母以无原罪之身怀有耶稣,这个图像及教义也传入中国。圣母的天后之尊,促成了在地文化将圣母单独地神祇化成单一女神,但这却违背天主教神学的中心意旨。圣母单独变成地方女神,甚至被观音信仰吸收而转化,在地化的力量应该是大过于传教士的策略。Abstract: In the early twentieth century, a picture of a female figure with a child was discovered in Xi'an, China. There are two competing views on its origins:one is to link it to the Franciscan mission to China; the other to the Jesuits. For the former, the picture was identified as a white-robed Guanyin; the latter, a Chinese duplicate of an image of Madonna with Child from Rome. Thus in an intercultural setting, the figure of the picture could be identified as both the Buddhist Guanyin and the Catholic Virgin Mary. The complexity of image recognition in this case indicates that interactions of the Catholic Madonna Images with Chinese visual discourses went beyond Catholic iconography and missionary control. This article intends to offer a preliminary discussion of the Guanyin/Madonna iconography perceived in the Jesuit late-Ming context, a topic to which there has been surprisingly little attention. I demonstrate that during this period the central theme of the iconography was the concept of Madonna as the "Queen of Heaven." From this perspective, local agency would have exceeded Jesuit evangelistic strategy and the Virgin Mary could have been deified as an independent goddess. This would not only have offended Marian theology but would have provided the necessary context for associating images of Madonna with the cult of Guanyin.
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