参军戏与胡乐补论  

Additional Discussion on Chan-Jun-Drama and Hu-Music

作　　者：黎国韬[1] 

机构地区：[1]中山大学中国非物质文化遗产研究中心,广东广州510275

出　　处：《广州大学学报（社会科学版）》2009年第3期69-73,共5页Journal of Guangzhou University:Social Science Edition

基　　金：国家社科基金重点项目(08AZW002)子课题;教育部人文社科一般项目(07JC751026)

摘　　要：在"参军戏原为胡部乐"这一观点的基础,对参军戏与钟馗、参军戏与祆教等的关系问题再作探讨,可以得出以下观点:其一,参军这一脚色的扮相受到钟馗形象的影响,由于钟馗染有胡俗,这就可以推断出参军戏具有胡乐的渊源;其二,凡有参军戏演出及有钟馗出现之处,每每就有祆教因素的存在,说明参军戏与胡人宗教火祆教之间有着某些内在联系。According to the view that Chan-Jun-Drama originated from Hu-Music, this paper further discusses the relations between Chan-Jun-Drama and Zhong Kui and between Chan-Jun-Drama and Zoroastrianism. Two viewpoints have resulted from the discussion. First, the role of Chan-Jun is greatly influenced by the Zhong-Kui＇s image, which has absorbed some elements of the custom of the Hu-People. Secondly, where there is a Chan-Jun-Drama performance with a Zhong-Kui＇s image it always has some elements of Zoroastrianism, which indicates that there are some internal relations between Chan-Jun-Drama and the Hu-People＇s religion, Zoroastrianism.

关 键 词：参军戏 胡乐 钟馗 火祆教 

分 类 号：I207.37[文学—中国文学]