宋元之際鍾馗文化的喪亂書寫：以「意」的承與變為核心

The Troubled Times Writing of Zhong Kui Culture between the Song and Yuan Dynasties: Taking the Inheritance and Change of“Meaning”as the Core

鍾馗書寫在明清時期呈現出了繽紛多彩的樣貌。但淵遠流長的鍾馗文化，是歷經南北朝發展，乃至於唐代，鍾馗形象的輪廓才基本成形。到了唐末五代，由於涉及宗教儀式層面的功能需求產生分化現象，在文藝審美層面對「意」的求索力度持續增強，於是促進了鍾馗形象的多元化發展，鍾馗與鬼物間的關係亦趨於諧和。然於宋元之際的書寫中，卻在諧和關係中透露著不協調的氛圍，此即書寫者歷經喪亂刺激而寓「意」其中的表現之一。此外，書寫者還聚焦方正與醉酒形象，藉以彰明正邪不兩立的立場，與逐除一切邪惡勢力的期望。甚至通過暗夜時空的想像，表達個人對陰屬侵犯陽屬的惶恐不安。乃至於結合蝦蟆蝕月之文化記憶，抨擊怠忽職守的官吏禍國殃民，且警示主政者防微杜漸的必要。無不是經由對鍾馗此一文化記憶的解碼與再編碼，扣緊個人對家國社會的關懷，體現出面對天下失道的憤恨與哀思，著實為後世鍾馗書寫奠定了重要的基石。

Writing about Zhong Kui showed a colorful style in Ming Qing Dynasties. However, the long-standing of Zhong Kui culture developed through the Northern and Southern Dynasties, and even Tang Dynasty, the outline of Zhong Kui’s image was basically formed. Due to the functional requirements related to the level of religious rituals, the continuous strengthening of the pursuit of“meaning”at the aesthetic level of literature and art, and the relationship between Zhong Kui and ghosts also tended to be harmony. However, there is an atmosphere of incongruity in the harmonious relationship between Song and Yuan Dynasties, which is one of the manifestations of the“meaning”that the writer has experienced. In addition, the writer also focuses on the images of uprightness and drunkenness, as the demonstration of the incompatible position of goodness and evil. Through the decoding and recoding of Zhong Kui’s cultural memory, closely related to the personal concern for the country and society, and reflects the resentment and grief for the world’s wrongdoing, which really laid an important foundation for future generations about Zhong Kui.