中国傩蜡文化与日本祭祀艺能
|
摘要
傩蜡文化的古老性,不仅关联古代农业社会里形成的共同观念、宗教信仰,还涉及歌舞、戏剧、诗歌等艺术起源和审美发生学方面的问题。作为一种原生态民俗宗教艺术,一直是人类学、历史学、民俗学、艺术学关注的重要对象。与中国相邻的日本,由于地理和长期历史交往的原因,文化的亲缘关系相当广泛和深远。日本盛行追傩行事,尽管接受了中国传统文化的影响,然而它也形成了自己的文化传统和民俗。它们有的与中国相似,有的则独具日本特色。笔者依据多年实地考察日本祭祀艺能资料,进行比较研究,重点是分析异同之间的文化认知。
Ancient Nuo Zha culture,not only relates to common sense and religious belief that formed in ancient agricultural society,but also relates to the origin of art and aesthetical aspects such as dance,drama,and poetry. As a kind of original ecological folk religious art,it is an important object of the anthropology,history,religion,folklore,and art study. In Japan as a neighbor of China,there is a quite broad and profound kinship cultue for geographical reasons and the long-history exchanges. The art after Nuo Populated in Japan,although is influenced by Chinese traditional culture,also forms its own cultural tradition and the folk custom. Among them,some are similar with Japanese. Based on years' fieldwork results of Japanese sacrifice art materials,this paper makes a comparative study which focused on the analysis of cognitive cultural between similarities and differences. And this paper is a stage result of the"comparison of Asian sacrifice performances"of the Japanese folk culture institute.
Ancient Nuo Zha culture,not only relates to common sense and religious belief that formed in ancient agricultural society,but also relates to the origin of art and aesthetical aspects such as dance,drama,and poetry. As a kind of original ecological folk religious art,it is an important object of the anthropology,history,religion,folklore,and art study. In Japan as a neighbor of China,there is a quite broad and profound kinship cultue for geographical reasons and the long-history exchanges. The art after Nuo Populated in Japan,although is influenced by Chinese traditional culture,also forms its own cultural tradition and the folk custom. Among them,some are similar with Japanese. Based on years' fieldwork results of Japanese sacrifice art materials,this paper makes a comparative study which focused on the analysis of cognitive cultural between similarities and differences. And this paper is a stage result of the"comparison of Asian sacrifice performances"of the Japanese folk culture institute.
引文
[1]弗雷泽.金枝[M].徐育新、汪培基、张泽石,译.北京:中国民间文艺出版社,1987:677.
[2]曲六乙,钱茀.东方傩文化概论[M].太原:山西敎育出版社,2006:440.
[3]钱荫愉.永恒的傩:傩文化的一种假设[J].傩·傩戏·傩文化:149.
[4]广田律子.中国江西省与日本大分县的追傩仪式[J].中华戏曲,1997(1):65-66.
[5]广田律子.傩祭之鬼[Z]中文打印稿
[6]伊藤清司.传说与社会习俗——火把节故事研究[J].孙浩,译,日本研究,1993(1):51-58.
[7]孙景琛.大傩图名实辨[J].文物,1982(3):70-74.
[8]恩格斯.家庭、私有制与国家的起源[M].马克思恩格斯全集,北京:人民出版社,2008.
[9]三上敏观.神乐:作为日本基层文化的神乐之历史与现状[Z].陈景扬译,2011年杭州中国剧本学术研讨会资料.
[10]田中一成.江西傩舞参观记[J].江西画报,1992(4).
[2]曲六乙,钱茀.东方傩文化概论[M].太原:山西敎育出版社,2006:440.
[3]钱荫愉.永恒的傩:傩文化的一种假设[J].傩·傩戏·傩文化:149.
[4]广田律子.中国江西省与日本大分县的追傩仪式[J].中华戏曲,1997(1):65-66.
[5]广田律子.傩祭之鬼[Z]中文打印稿
[6]伊藤清司.传说与社会习俗——火把节故事研究[J].孙浩,译,日本研究,1993(1):51-58.
[7]孙景琛.大傩图名实辨[J].文物,1982(3):70-74.
[8]恩格斯.家庭、私有制与国家的起源[M].马克思恩格斯全集,北京:人民出版社,2008.
[9]三上敏观.神乐:作为日本基层文化的神乐之历史与现状[Z].陈景扬译,2011年杭州中国剧本学术研讨会资料.
[10]田中一成.江西傩舞参观记[J].江西画报,1992(4).