防閑託守宮──漢唐之間以守宮為方的驗淫術

Cherishing Chastity: Producing Chastity with Shougong between the Han and Tang Dynasties

守宮砂是由守宮與丹砂兩物合製，據聞點在婦人身上，經房事後便脫落，可作為「防閑」或「驗淫」之用。這項技術在中國歷時很長，最早出現於馬王堆漢墓出土的古醫書中，但作為專有名詞約於近世才形成，而至今仍藉小說、影劇等形式建構當代認知。本文作為一項初步研究，希望回歸歷史脈絡，從相關技術的製作與使用分析此術在漢唐之間的最初形貌。首先思考的是：製作方式與材料運用如何形塑早期的概念？漢代文獻裡的丹砂並非必須之物。至魏晉南北朝以降，守宮加上丹砂的製作方式逐漸固定下來，已與後世所理解的「守宮砂」相去不遠。其次，守宮作為製作的關鍵材料，點於婦人身上所產生的變化牽涉到「守宮」二字的詮釋，傳述者對此定義紛紜，也是本文所要討論的議題。第三，就技術製作的性別角色而言，女性在漢代是被施作的對象，但到唐詩裡卻成為製作者，其角色雖看似從被動到主動，卻與守宮砂「防閑」、「驗淫」的使用目的有著扞格與妥協的意味，同時也象徵女性在這類方術中的被支配性。

Shougongsha (守宮砂), composed of shougong (守宮) and dansha (丹砂), was employed to “prevent sexual transgression” and “verify sexual abstinence”. According to records, shougongsha, which was dyed into the skin, would come off when a woman would engage in any sexual behaviour. This technique has a long history in China and can be dated back to the Han dynasty as in Medical Books from the Tomb of Mawangdui (馬王堆醫書) reveal. Nevertheless, shougongsha did not become a proper noun until the modern era, when it began to shape the contemporary consciousness through the medium of fiction, film and television drama. As a preliminary study, the present article aims to review the historical context of the technique, and discuss its initial form it took from the Han to the Tang dynasties. This paper first delves into how the concept of shougongsha was shaped, in early times, by its methods of production and the ingredients used. During the Han dynasty, literature shows that dansha was not an indispensable ingredient in the production process. It is only during the Wei, Jin, Northern and Southern dynasties that a technique using both shougong and dansha was gradually crystallized, thus approaching our current understanding of shougongsha. Secondly, this article will discuss how the appearance of the key ingredient, shougong, is altered after being applied on the skin, and how, based on this information, various definitions of the material have been proposed from the Han to the Tang dynasties. Lastly, the traditional technique involves various gender issues, such as gender roles and body power. Since women were depicted as the object of shougongsha in Han literature, while they became producers in Tang poems, it appears, at first sight, that the women's role underwent a progression from passive to active.However, when we take into consideration the woman's attitude towards their bodies in literature as well as the purpose of the technique – to “prevent sexual transgression” and “verify sexual abstinence” – , a sense of conflict and compromise emerges. In general, evidences tend to confirm the subjugation of the female body by this traditional alchemy.