陳乃華。〈「我們穿得和山神（Yullha）一樣！」：安多熱貢六月會（Lurol）祭祀中的人神關係與服飾意涵〉。《民俗曲藝》226 (2024.12): 169-216。
Chen Nai-hua. “‘Dressing Up as a Mountain God (Yullha)!’: Exploring Human-Deity Relationships and the Symbolic Significance of Clothing at the Lurol Festival in Amdo Rebgong.” Journal of Chinese Ritual, Theatre and Folklore 226 (2024.12): 169-216.
Abstract
安多熱貢位於羌塘與蒙古的邊際，向北是草原帝國之所在，地處河西走廊與藏彝走廊交叉口，與中原王朝交往頻繁。政治與宗教的交錯形貌，使安多熱貢焠煉出多元文明的表現與傳承體系。法國年鑑學派石泰安（Rolf Alfred Stein，1911–1999）關於西藏文明的著作《甘青川藏古代部落考》，將目光投注在漢藏交界的走廊區域，書中敘述傳統拉薩貴族家族竭力將家譜與原始部族相接，氏族貴族家庭有其先祖世系，山神（yullha）與氏族系譜的創立者有密切關連，山神被作為先祖來供養。本文以安多熱貢的六月會（Lurol）祭儀為核心，環繞着青海隆務流域沿岸的十二個部族，每年在農曆六月會依序在部落舉辦山神祭祀，至今仍活躍在民間。儀式中，各部落的參與者，不論男女老少皆穿着華美服飾，如同主祀山神般配戴「紅纓白氈帽」（phying zhwa），具備「神—人」共通的象徵意涵，祭儀被強調的山神階序，反映部落先祖在西藏贊普時期的等級關係。通過「神舞」祭祀，說明吐蕃王朝（633–842）的贊普崇拜如何在佛教化的山神信仰中找到新的土壤，成為「阿尼」祖先信仰的範疇；而儀式舞蹈中「軍舞」祭祀，則重現明永樂年間（1403–1424）中原王朝駐守到安多的歷程。通過從「吐蕃贊普後裔」或「明永樂屯軍」的不同脈絡和民間敘事，呈現漢—藏邊地（Sino-Tibetan borderlands）的多重歷史記憶。
Amdo Rebgong, located on the border between Qiangtang 羌塘 and Mongolia, has been heavily influenced by the Northern
Steppe empires. It is the crossing point between the Hexi 河西 Corridor and the Tibetan-Yi 藏彝 Corridor, fostering frequent interactions with Central Plains
dynasties. This strategic position has molded the region’s complex political
and religious landscape, contributing to the diverse cultural expressions and
heritage systems of multiple civilizations. In A Study of Ancient Tibetan
Tribes in Gansu, Qinghai, and Sichuan, French Annales historian Rolf Alfred
Stein (1911–1999) delves into the Sino-Tibetan corridor and notes how
traditional Lhasa aristocratic families sought to trace their genealogy back to
original tribes. He observes a connection between these genealogies and the yullha
(mountain gods) who were revered as ancestors. This article sheds light on
these phenomena as seen in the Lurol Festival in Amdo Rebbong. During each
year’s sixth lunar month, twelve tribes along the Longwu 隆務 River perform yullha worship, a tradition that continues
to be upheld with great vigor today. As part of this festival, tribe members of
all ages and genders dress in splendid garments and adorn themselves with phying
zhwa (white felt hats with red tassels) as they gather to worship yullha,
signifying the profound and sacred bond between deities and humans. This
festival prominently displays the hierarchical relationships among mountain
deities, reflecting the ancient hierarchical order dating back to the Tsenpu
period (633–842). This article analyzes “divine dance” to elaborate on the
rediscovery and rejuvenation of the Tubo dynasty’s (633–842) Tsenpu worship
within the context of highly Buddhist mountain cults, which became part of
“ani” ancestor veneration. Additionally, the “martial dance” performed during
this ritual depicts the history of emigration from the Central Plains region to
Amdo. By elucidating the various contexts and folk narratives related to
descent from the Tubo Tsenpu or military settlers during the Yongle 永樂 era (1403–1424), this study unveils manifold historical
memories that are integral elements of the Sino-Tibetan borderlands.