從德川文獻探討近世日本的石敢當文化

A Textual Study of Ishiganto in Early Modern Japan

石敢當文化不但在中國普及大江南北，甚至流傳琉球、日本、越南及東南亞等周邊地域。日本是中國域外石敢當文化最盛之邦，其發展與中國迥然不同，引起學界的關注。至今學界的主要成果是民族學的實地調查。本文以德川文獻為基礎，嘗試探討石敢當在近世日本的流傳情況，及其呈現的本地特色，有助加深瞭解近世中日文化交流的性質。石敢當在中世後期傳入琉球與日本，在德川時代落地生根，遍地開花，而且與本土風俗及宗教結合，跟神、佛、儒、陰陽道及修驗道均有互動。近世日本的石敢當自成一格，其格式、稱呼、尺寸、圖案及功能均與中國的有所不同。這種中國文化的再脈絡化反映中日文化交流的性質從來不是單向的傳播中國文化，而是以日本為主體的中國文化在地化。近世日本石敢當文化的主要作用並非提倡中國的風土人情，而是強化日本的民間風俗及本土宗教。

Ishiganto is a kind of talismanic stone worshipped in different parts of China. It was also introduced to China's neighbors including the Ryukyu Kingdom, Japan, and Vietnam. In particular, Japan embraced this folk religion most enthusiastically. Its popularity in Japan was as high as in China. Although ishiganto originated in China, it had its unique characteristics in Japan. The differences between China and Japan in ishiganto deserve close investigation. Using Tokugawa sources as the main reference, this paper examines the popularization and localization of ishiganto in the Ryukyu Kingdom and Japan in the early modern period. It will deepen our understanding of the nature of early modern Sino-Japanese cultural interchange. Introduced to the Ryukyu Kingdom and Japan in the late medieval period, ishiganto reached the peak of its popularity in the Tokugawa period. It was fused with native customs and religions, interacting with Shinto, Buddhism, Confucianism, yin-yang and Shugendō. Ishiganto in the Ryukyu Kingdom and Japan was different from that in China in terms of format, name, size, design and function. It demonstrates that the popularization of Chinese culture in Japan often came with localization and it was never a one-way cultural flow. Japan turned ishiganto a part of its own culture. Ishiganto in early modern Japan was used to strengthen Japan's indigenous customs and religions more than to promote imported Chinese culture.