江户时代纸塑针灸模型之滥觞  

The Origin of Paper Figures for Acu-Moxa in the Edo Period

作　　者：姜姗 张大庆[1] JIANG Shan;ZHANG Daqing(School of Medical Humanities,Peking University,Beijing,100191)

机构地区：[1]北京大学医学人文学院,北京100191

出　　处：《自然辩证法通讯》2020年第4期62-67,共6页Journal of Dialectics of Nature

基　　金：中国博士后科学基金第62批面上资助。

摘　　要：针灸铜人是与中国针灸疗法相关联的实用模型与文化载体,最晚在公元14世纪已传至日本,在江户时代,日本自制针灸铜人呈现出蓬勃发展的趋势。本文扼要梳理日本江户时代的针灸业发展特点,论证其流派授学、执业宣传等对针灸铜人的市场需求;在客观层面,说明纸质铜人在江户时代备受青睐这一特殊文化现象的现实原因;在主观层面,结合江户造纸业的兴盛、纸塑模型制作工艺的精湛,分析纸质针灸铜人的轻便、精准、美观等三方面优势;通过与中国针灸铜人在制作目的、制作者身份、使用范围、通用材料背景等四方面的对比,阐释何以二者的选材上呈现分歧,并进一步探讨由此透现的日本学习外来文化过程中的特点。Figures for acu-moxa, which are related to the acu-moxa therapy, are functional models as well as carriers of culture. They were introduced into Japan from China in the 14 th century at latest and had ignited a blast of producing similar figures in the Edo period. This study briefly traces the features of the development of acu-moxa in the Edo period, discussing the need for the figures of acu-moxa to assist teaching and advertising. Several practical reasons are proposed to account for this special cultural phenomenon. In addition, against the background of the flourishing paper industry and the skilled paper models making, it is shown that figures made of paper are more portable, with higher precision and also more artistic. This study also explain the differences between Chinese and Japanese figures for acu-moxa in terms of the purpose of their production, the status of the producers, the range of their users and the normal material used. The paper ends with a further discussion on the Japanese characteristics in learning from other cultures.

关 键 词：针灸铜人 江户时代 和纸 纸塑模型 

分 类 号：N0[自然科学总论—科学技术哲学]