中日鬼面具简论  

A Brief Discussion on Chinese and Japanese Ghost Mask

作　　者：权晓芳 Quan Xiaofang

机构地区：[1]北京市艺术研究所

出　　处：《戏剧（中央戏剧学院学报）》2024年第3期109-121,共13页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金冷门“绝学”和国别史等研究专项“东亚民俗演剧假面史论”(项目编号:19VJX154)的阶段性成果。

摘　　要：从《周礼》记载的傩仪算起,傩文化在中国已经绵延发展了几千年。公元705年(庆云二年),日本宫廷依照中国唐代礼制举办驱傩仪式。随着时代变迁,方相氏驱傩相继在中国、日本消失,然而,接下来的流变发展各有特点,中国的方相氏驱傩只存在于文献记载中,民间出现各种各样的傩事活动。日本一些神社多次复苏方相氏驱傩,并且与后来出现的社寺傩、艺能傩,以及撒豆打鬼风俗共存发展。虽然流变不同,却有很多相通之处,两国鬼面具都体现中国古代阴阳五行思想,都有历史人物出现在驱傩活动中,鬼面具都善于借鉴本国传统戏剧中的脸谱或者面具。本文通过对照几组中日傩事活动的面具和表演内涵,探讨中日两国同根异花的傩文化现象。Exorcism has a rich history dating back to the Rites of the Zhou Dynasty,and its practice has spanned thousands of years.In 705 AD(Keiou 2),the Japanese court conducted an exorcism ceremony.Over time,the specific practices of exorcism,including the Fang Xiangshi Exorcism,evolved and varied in both China and Japan.While the Fangxiang Exorcism disappeared in the Song Dynasty,various exorcism ceremonies emerged in China to fill the void.Similarly,in some Japanese Jinnjya,the Fangxiang Exorcism has experienced a revival.Today,different exorcism ceremonies coexist alongside one another,each with its own distinct characteristics and traditions.It is noteworthy that contemporary exorcism ceremonies in both China and Japan share several similarities.The masks used in these ceremonies have been influenced by Yin-Yang and Five Elements ideology,historical figures,and traditional drama,among other cultural touchpoints.By conducting a comparative analysis of masks and performance connotations,the thesis aims to shed light on the cultural connections and differences between China and Japan,highlighting their shared historical roots while showcasing the unique manifestations that have emerged in each respective culture.

关 键 词：修正会 鬼剑舞 五猖舞 安顺地戏 江户里神乐 

分 类 号：J81[艺术—戏剧戏曲]