十二兽与十二鬼新论  

New Research of Twelve Ghosts and Twelve Beasts

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：《广东第二师范学院学报》2012年第1期78-83,共6页Journal of Guangdong University of Education

基　　金：教育部人文社科研究规划项目"汉唐戏剧新考"(11YJA751032);广东省哲学社会科学"十一五"规划项目"中古戏剧新探"(GD10YZW01)

摘　　要：对《东京赋》及《后汉书·礼仪志》所载东汉宫廷大傩仪的"十二鬼"和"十二兽"作出比较和考证后,可以得出以下观点:《赋》所描写的傩仪形态要略早于《志》所载的傩仪形态;《赋》中的十二鬼在傩仪施行时以土偶的形式呈现,是鬼神像形化的结果,体现了东汉人巫术思维的一种新变;《志》中的十二兽在十二鬼基础上进一步想象产生,它们与十二鬼均为东汉宫廷大傩仪与前代大傩仪的重要区别所在。Comparing the records of big Nuo ceremony in Dong-Jing-Fu with that of in Hou-Han-Shu-Li-Yi-Zhi,we could draw several conclusions.Firstly,the shape of Nuo ceremony described in Dong-Jing-Fu was earlier than that of in Hou-Han-Shu-Li-Yi-Zhi.Secondly,Twelve Ghosts in Dong-Jing-Fu appeared as clay puppet after the ghost had been visualized,incarnating a new change in East Han dynasty people′s wizard thought.Thirdly,Twelve Beasts in Hou-Han-Shu-Li-Yi-Zhi were produced on the basis of image of Twelve Ghosts.Twelve Ghosts and Twelve Beasts were the important characters of the big Nuo ceremony that differentiated East Han Dynasty from the previous dynasties.

关 键 词：东京赋 后汉书·礼仪志 大傩仪 十二鬼 十二兽 巫术思维 

分 类 号：I222.4[文学—中国文学] B933[哲学宗教—宗教学]