從十七世紀兩件史料看聖母的世界史脈絡——西班牙、日本和中國的一個跨域交流

The World-Historical Contexts of the Virgin Mary Seen from Two Seventeenth-Century Sources: Cross-Boundary Encounters of Spain, Japan, and China

天主教聖母瑪利亞，作為耶穌之母和天后，扮演信仰者最重要的仲裁中介、代禱、和保護者。十六世紀以降，天主教較大規模傳播歐洲以外的非基督宗教文化地區，開啟了聖母瑪利亞的世界史。在天主教的傳播中，聖母絕對是一個要角，其與地方信仰的互動，確實是文化交流中的一個亮點。在此時聖母已展現出其能超越種族及文化界線的魅力和能力，在這個世界史視野中，中國出現的與天主聖母之文化互動，部分與西班牙聖母的世界史有所牽連，但過去研究對這個關係性和中國聖母的世界史特性，甚少討論。本文討論的兩件聖母史料，都有西班牙、日本和中國三地的圖像或文本牽連，它們呈現相當跨域的特性，可能受到日本資訊的影響，也是西班牙聖母世界史脈絡的一面。某種意義上，它們既可以說明一種東亞脈絡內中國與日本的文化交流，也是西班牙聖母傳播世界的證據。第一件史料是西班牙塞維亞大主教座堂著名的聖母古像（Santa Mar?a de la Antigua，或Nuestra Se?ora de la Antigua），在十六世紀初葉早隨西班牙殖民者到達美洲，後又在十六世紀下半葉被耶穌會士帶到日本，繼而在十七世紀初葉，在中國以木刻再製出版。在十六世紀，它應該是一個盛行於西班牙、並與美洲殖民多所關聯的古老聖像，有征戰異教成功的象徵意義，而在傳教的使用上，很難說沒有受到原先美洲風潮的影響。第二件史料是聖母祈禱方法的中文首譯作品《誦念珠規程》，其最重要的母本參考，應是西班牙耶穌會士賈斯柏‧羅爾特（Gaspar Loarte, c. 1498－1578）的念珠十五端文本，早傳入日本並有再印翻譯。

The Virgin Mary, as the mother of Jesus and Queen of Heaven, serves as the most important mediator, intercessor, and protector for the faithful of Catholicism. Beginning in the sixteenth century, Catholic missions began reaching non-Christian areas outside of Europe to a great extent, commencing a world history of the Virgin Mary. During these missions, the Virgin Mary was a significant and prominent figure, and her encounters with local religions and cults were a spotlight within the cross-cultural exchanges, showing a charm and capacity to cross over both national and cultural boundaries. Within this world-historical perspective, the cultural encounters of the Virgin Mary with China were in part related to the world history of the Spanish Madonna. This aspect, however, as well as the world-historical nature of the Chinese Madonna, have been rarely discussed from this perspective. Two Madonna sources are discussed in this article, and both have visual and textual aspects which interlink Spain, Japan, and China, demonstrating an ability to cross boundaries to a remarkable degree. They were likely influenced by resources from Japan, another aspect in the context of the Spanish Madonna being propagated throughout the world. In this way, they can also be said to indicate a cultural exchange between China and Japan within an East Asian context, and further evidence of the global dissemination of the Spanish Madonna. The first source is the Madonna image Santa María de la Antigua, or Nuestra Señora de la Antigua, of the Seville Cathedral, which had been taken to America and Japan earlier, and then further reprinted in China. Its popularity within and connection to the Spanish colonial world were well-known, and the symbolic meanings of this icon regarding the conquering of heresy, and in turn military success, could have thus been brought to the fore for use by the missionaries. The second source is the first Chinese translation of the Marian rosary prayer, the book entitled Song nianzhu guicheng 誦念珠規程. Its most important original source material, as this article argues, should be the rosary texts authored by the Spanish Jesuit Gaspar Loarte (c. 1498-1578), which had been circulated and translated by Jesuit missions in Japan.