孫嘉玥。〈多面黃氏女：一則漢族佛教故事在藍靛瑤文化中的流傳與演變〉。《民俗曲藝》230 (2025.12): 129–77。
Sun Jiayue. “The Many Faces of Woman Huang: The Transmission and Transformation of a Han Chinese Buddhist Story in Lanten Yao Culture.” Journal of Chinese Ritual, Theatre and Folklore 230 (2025.12): 129–77.
Abstract
「黃氏女」是一則起源於宋代的漢族佛教故事，講述她持誦《金剛經》，被召入冥界巡遊後轉世。明清以降，該故事在中國各地廣泛流傳，也傳入了瑤族等少數民族地區。藍靛瑤是瑤族支系之一，文化深受道教影響。香港大學「瑤道項目」在老撾琅南塔省的藍靛瑤社群中發現了黃氏女故事的三個版本，文體分別為唱本、口傳故事、科儀本片段。本文根據這些手抄本文獻，探討該故事的跨文化流傳與演變，以及其中折射出的瑤漢、佛道關係。
文本分析表明，唱本比較忠實地保留了漢族版本的面貌，口傳故事則有明顯改編，對黃氏女人物形象的建構不同，科儀本摘選「黃氏女過橋」這一情節片段，同時借用唱本的文字和口傳故事的意涵，為儀式功能服務。三種文體之下，黃氏女彷彿有着三張不同的面孔，展示了黃氏女故事作為一種外來文化，以文字的形式傳入藍靛瑤、在口頭文化中深入傳播、被創造性地納入儀式實踐的三個側面；它們的共存展現了文化本身的多面性與異質性。本文提出，在微觀層面的文化互動中，漢、瑤、佛、道等宏觀概念的邊界是流動的，彼此不僅有互滲與融匯，更有衝突、協商與聚合，這些張力被定格在不同語境下的文本之中。本文從民間文學的角度切入，為研究文化互動提供了一個新的視角。
The story of Woman Huang is a Han Chinese Buddhist story that
originated during the Song dynasty, which depicts a woman who recited the Diamond
Sutra, was summoned to the underworld for a tour of judgment, and was later
reincarnated. During the Ming and Qing dynasties, this tale spread widely
across China and eventually reached minority communities such as the Yao. The
Lanten Yao is a Yao subgroup deeply influenced by Daoism, and three versions of
the story are preserved by the Lanten community of Luang Namtha Province, Laos,
identified by the “Yao Dao Project” of the University of Hong Kong. These
versions appear in three different genres: a songbook, an oral narrative, and a
ritual manuscript fragment.
Drawing on these manuscripts, this study explores the
cross-cultural transmission and transformation of the Woman Huang story and its
links to Yao-Han and Buddhist-Daoist interactions. Textual comparison reveals
that the singing manuscript remains closest to the Han prototype, the oral
narrative reshapes the protagonist’s image with creative adaptations, while the
ritual text isolates the “Crossing the Bridge” episode, borrowing language from
the songbook and meaning from the oral version to serve liturgical purposes.
Through these three genres Woman Huang assumes multiple identities—as written
text, oral narrative, and ritual performance—illustrating the fluid and plural
nature of cultural transformations. On a micro level, this study shows that
boundaries between “Han,” “Yao,” “Buddhist,” and “Daoist” traditions are not
fixed but dynamic, negotiated, and mutually constitutive within living
practice.