泰山天仙玉女：从诗境走进宫祠、集市——明代社会各阶层对碧霞元君的不同接受方式

碧霞元君即泰山玉女,始乃曹操、曹植、李白创作的云霞与玉女浑然一体的特殊艺术表象.在明代,这一审美意象仍然体现着文人阶层所追求的诗情、自然与天仙连成一片的理想境界.诗境中的碧霞元君始终都在召唤两个方面的价值意向,一是对现实社会必然性的超越,二是对生存时空无限性的向往.前者在一定程度上被民众阶层所接受,他们将碧霞元君解读为一种既表达了宗教要求又象征着审美需求的俗信符号,以此为依托去进行诸如迎神赛会、进香祈愿、旅游观光、休闲娱乐、集市贸易之类半功利半娱乐的社会文化活动;后者在一定意义上为统治阶层所接受,他们不断为泰山玉女塑神像,修宫祠,赐额立碑,以祈求祛病消灾、延年益寿.

On the Heavenly Immortal Jade Maiden of Mountain Tai:Filtering into Palaces and Ancestral Temples From Poetry --Different Stratum's Different Receiving Manners to Bixia Yuanjun in Society of Ming Dynasty

As a deity image in supernatural vision,Bixia Yuanjun (Primordial Lady of Emerald Clouds) of Mountain Tai was originally created by CAO Cao,CAO Zhi,LI Bai as an aesthetic imago,viz.a combo of clouds and Jade Maiden.Till Ming Dynasty,this art image still incarnated a Utopian bourn of a joint of sensibility,nature and faeries which was pursued by literator estate.In poetry,Bixia Yuanjun always summoned two aspects of value wills:one was inevitable exceedance of real society;the other was the yearn to limitless living space.The former was accepted by plebs estate for a certain extent,and the latter was accepted by dynast estate by a certain meaning.