夏维明 以色列特拉维夫大学
Shahar, Meir, Tel Aviv University
原文Original
On the History and Indian Origins of the Chinese God Nezha (Nalakūbara)
Nezha is among the most fascinating and enigmatic figures in the Chinese pantheon of divinities. He is a child god who overcomes a dragon king when only five days old. Nezha's antics anger his father, leading to a murderous conflict at the height of which the child commits suicide, only to be reborn and avenge his death by attempted patricide. The myth is remarkable for its visceral rendering of Chinese family tensions, no less than for its unmistakable oedipal overtones.
In this paper I examine the possible Indian origins of the Nezha myth. My investigation follows two paths: The first – partially traced by previous scholarship–concerns Nezha's identity of Nalakūbara. The earliest Tantric scriptures that feature the child-god, no less than the evolution of his name (from Naluojiupoluo through Nazhajuwaluo to Nazha and Nezha) leave no doubt that he is Vaiśravaņa's son Nalakūbara (also known as Nalakūvara). The Hindu god's sexual adventures, as well as his troubled family background (he is the nephew of the arch-evil Rāvaņa), might have foreshadowed his demonic portrayal in Chinese literature.
My second line of investigation concerns the possible impact of the Indian Kŗşņa myth upon the Chinese Nezha legend. The two story-cycles share striking similarities: Both are premised upon the concealment of a mighty god in a baby's body; both are colored by strong oedipal hues; and in both the child-god tames a dragon (nāgas or long). A tenth-century Tantric sutra by Devaśantika (Tianxizai) might support the possible connection between Nalakūbara and Kŗşņa, as it features a mighty child god named Naņa, who appears to be a hybrid of the two.
Whether the Chinese Nezha has been fashioned after Nalakūbara and Kŗşņa, or after the former only, his legend demonstrates the impact of Tantric scriptures on Chinese literature. Tantric ritual harnessed the entire pantheon of Hindu divinities, thereby leaving an indelible imprint upon the Chinese imagination. In this respect my paper supports the findings of Robert van Gulik (on the Chinese horse-cult Hayagrīva), of Michel Michel Strickmann (on Śiva and Skanda), and of Bernard Faure (on King Yama and his Acolytes).
译文Translation
哪吒神的历史及其印度起源
哪吒是中国诸神祗中最为迷人和最为神秘的形象之一。他是一位童神（Child god），年仅五岁就战胜了龙王。哪吒的乖张莽撞行为激怒了他的父亲，父子间的冲突上升到不共戴天的程度，最后以哪吒自杀收场。不料哪吒又起死回生，试图弑父以报杀身之仇。这个神话非比寻常，它不但对恋母情结有明显的暗示，而且反映了中国家庭关系的紧张。
本文意在探究哪吒神话可能存在的印度起源。研究主要分为两条路径。其一是部分地借鉴先前的研究成果，将哪吒与Nalakūbara联系在一起。可以断定，哪咤即印度教天神多闻天王（Vaisravana）的儿子Nalakubara（也被称为Nalakūvara）。主要证据体现在最早期密宗经文中塑造的童神，还有其名字的演化（从Naluojiupoluo到Nazhajuwaluo，到Nazha，再到Nezha）；不仅如此，这位印度神的性传奇和混乱的家庭背景（他是大魔头罗伐奴王（Rāvaņa）的侄子）或许正是他在中国文学中被描绘成恶魔形象的原因。
第二条线索是研究印度Kŗşņa（奎师那）神话对中国哪吒神话可能造成的影响。这两个故事具备惊人的相似之处：主人公均为婴儿的身体，实际上却是强大的神祗；都具有强烈的恋母情结；两个童神都驯服了龙（一个是nāgas，另一个是中国龙）。另外，Devaśantika （天息灾）在10世纪完成的密宗经典，塑造了一个名叫Nana的童神，也许可以进一步的将Nalakūbara和Kŗşņa联系在一起，这个童神的名字似乎是二者的混合体。
无论中国的哪吒形象是创造于Nalakūbara和Kŗşņa 两者之后，，还是介于两者之间，他的故事都体现了密宗经文对中国文学的影响。密宗仪式使用了印度教诸神的全部谱系，对中国人的想象产生了巨大的影响。在此方面，本论文与Robert van Gulik的研究（论中国马头明王Hayagrīva）、Michel Michel Strickmann的研究（论Śiva和Skanda）、 以及Bernard Faure的研究（论Yama王和他的侍僧）结论一致。