東南亞的政治宣傳文化—以東爪哇國王阿伊爾朗嘉自喻毗濕奴為例

把宗教與藝術當作政治宣傳的工具，以遂行統治者之政治目的，這種情況舉世皆然。各政治領袖無不希望藉由各種具相之事物（如建築、雕刻、器皿），或抽象之理念（如宗教、意識、藝文），運用直接/間接、明白或隱喻的方式，傳佈對其自身有利的訊息。在其所傳布的訊息中，至少可分為政權合法性，照顧人民福祉，維繫國家生存及延續人民生命等。東南亞亦不例外。東爪哇國王阿伊爾朗嘉（Airlangga，1019-1049）就是一個例證，但學界對他很陌生。本文分析他如何藉由具體之事務與抽象之理念，尤其運用宗教與藝術，來達成其政治宣傳之目的。首先，他自稱為毗濕奴的人間化身（Vishnu，印度教三大主神之一，能維繫一切生命、財產）。其次，他把自己的雕像刻劃成「騎在金翅鳥」（Garuda，宇宙最雄猛之巨禽）），腳踏蛇（龍）族(Nagas，人身蛇（龍）尾，天神的化身，變化多端，亦善亦惡)的模樣。第三、他又把「騎在金翅鳥」上的神像安置在京城大廟中。廟宇之建築、雕刻、器用等配套設計傳達了許多的訊息：（一））他是下凡的天神，騎乘在金翅鳥上，能打敗強敵、捍衛國土。（二））金翅鳥執持的水瓶，源源不斷地流出泉水，水是任何人都必需的，國王能提供生生不息的生命泉源、照顧人民健康。（三）池中許多天仙的胸部，清泉涓涓不停地流出，形成一個大水池。潺潺不竭的乳汁/福祉，王室能不斷地供應，哺育臣民，促進社會繁榮，以及延續國家生存。這些可能都是他透過宗教與藝術，所進行的政治宣傳，也形塑出一種文化的氛圍。東南亞的政治宣傳文化裡，類似阿伊爾朗嘉的核心元素之一的宗教與藝術圖像，四處可見，源遠流長，尤為該區域文化的特徵之一。例如：柬埔寨吳哥文明的扶南（Funan， 4-5 世紀）王朝，獨尊印度神祇克莉西娜（Krishna)；緬甸國王阿歷儒德哈（Anorattha Aniruddha，1044–77））由大乘改宗販依小乘佛教；泰國國王鄭昭（Taksin,，1763–1782），自稱彌勒佛；菲律賓現任總統杜特蒂（Rodrigo Duterte），聲稱能直接接收耶穌基督的教誨等。這些都可說明宗教與藝術，在東南亞政治宣傳文化中之重要性。本文除試圖去探討阿伊爾朗嘉自比毗濕奴，他可能用宗教及藝術包裝自己，當作政治宣傳工具，作為其統御的要件外，也嘗試研析其於政治宣傳的文化意涵裡，所流露出的浮誇之嫌。其實，這在東南亞當地的政治宣傳文化中，或許也是基本要素及典型模式之一。

關鍵字

印尼；東爪哇；阿伊爾朗嘉；毗濕奴；政治宣傳

並列摘要

The practice of taking culture and art as a propaganda tool to carry out the political purpose of the ruler has been the same all over the world. The political leaders are hoping to use the concrete subjects of the various things (such as architecture, sculpture, utensils), or abstract ideas (such as religion, consciousness, art), through direct or indirect, meticulous or metaphorical approach, to spread message in their favor. In its spread of the message, it can be divided, at least, into the following: the legitimacy of the regime, the care of the well-being of the people, the maintenance of national survival, and the continuation of people's lives among others. Southeast Asia is no exception. King of the East Java Airlangga (1019-1049) is an example. However, he remains to be a strange figure to academia. This article analyzes how he used the concept of specific affairs and abstraction, especially the use of religion, to achieve the purpose of political propaganda. First of all, he is a metaphor for Vishnu (Vishnu, one of the three main gods of Hinduism, is able to maintain all life and property). Secondly, he carved his statue as "riding on the golden bird" (Garuda is the most powerful giant eagle of the universe), pedaling the snake or dragon family (Nagas, the human body with snake tail and the god of the incarnation, is varied ). Thirdly, he placed the statue of "riding on the golden wings" in the temple of the capital. Temple of the building, sculpture, equipment and other supporting design is to convey a lot of messages: (a) He is the mortal god, riding on the golden wings, can beat the enemy and defend the land. (b)The golden wings of the water bottle is a steady stream of spring water which is necessary for anyone. The king can provide endless life fountain and take care of people's health. (c)The chest of many angels in the pool trickles out fresh springs to form a large pool, gurgling inexhaustible milk / well-being. The royal family can continue to supply the feeding subjects, promote social prosperity and the continuation of national survival. This can be regarded as a cultural atmosphere created by Airlangga for the purpose of political propaganga. It is also one of the most representative works of political propaganda in Southeast Asia. As one of the similar core elements of religious and artistic images, political propaganda in Southeast Asia has a long history and can be seen everywhere , especially it is one of the characteristics of regional culture. For example: Funan( 4-5 AD) dynasty of Cambodia's Angkor civilization respects only god of India Krishna; Myanmar King Anorattha Aniruddha(1044-77) converts his belief from Mahayana to Hinayana; the Thailand king Taksin(1763-82) calls himself as Maitreya; the incumbent president of the Philippines Rodrigo Duterte claims to be able to receive the teachings of Jesus Christ directly. These can explain the importance of religion and art in the political propaganda culture of Southeast Asia. In addition to attempt to explore Airlangga, who names himself as Vishnu, and how he may have used religion and art as a tool to wrap himself for political propaganda as an element of his reign, this study will also analyze the cultural implications of his political propaganda in the case of the exaggeration. This practice is also common in other Southeast Asia countries , and even in world history.