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당송(唐宋) 나례(儺禮), 나희(儺戱)의 〈구나행(驅儺行)〉의 나희(儺戱) 그리고 산대놀이
안상복 한국중국어문학회 2002 中國文學 Vol.37 No.-
高麗末, 李穡(1328-1396)寫的〈驅儺行〉詩在韓國傳統劇史上是具有重要價値的資料, 但是這首詩的價値一直沒有得到重視. 筆者在上次所得的初步結果的基礎上, 擴大範圍, 以唐宋儺禮`儺禮和〈驅儺行〉的儺戱以及山臺戱爲對象, 進行了進一步的比較和探討. 本文從四個方面進行探討的主要內容如下. 第一, 唐代的宮儺和宋代宮儺之間的變化主要在於人物方面. 從漢代以來的傳統驅鬼神道都被新興神道代替了. 第二, 爲了追究這種變化的原因, 筆者從打夜胡的線索入手, 察閱了一些有關驅儺的敦煌資料, 從中得知, 宋儺的變化是在民間的影響下産生的. 第三, 那?, 宋代儺戱的具體面貌如何? 關於這個方面的資料?少, 至今無法充分地了解. 但, 《東京?華錄》記載的有關鬼神戱的記錄和南宋劉?的〈觀儺〉詩提供了難得的信息. 經過這兩種資料的比較, 我們可以勾畵出當時儺戱的表演的大體輪廓. 從演劇的角度來看, 〈觀儺〉詩中的儺戱比《東京?華錄》記載的鬼神戱表現出了更爲成熟的劇化形態. 可以說幾乎是一部完整的戱劇. 如以明雜劇〈慶豊年五鬼鬧鐘?〉爲基準進行比較, 這一點更爲明確. 第四, 經過〈驅儺行〉的儺戱與唐宋儺的比較, 我們可以明確地認識其演出的形態, 和現在的山臺沒有太大的差別. 據本文探討的結果, 〈驅儺行〉詩中的儺戱共分爲六段, 每段的演出由一種神道來主持. 換言之, 〈驅儺行〉的儺戱是六種神道爲主的六段小戱合起來的一個大戱. 從外貌來看, 六種神道都着假面登場, 所以詩中的儺戱可以被看做是一場面戱. 從形態來看, 〈驅儺行〉的儺戱保持了先於〈觀儺〉詩的早期形態. 也就是說, ?相當於一種介於唐宋之間的戱劇形態. 從神道由來方面來看, 〈驅儺行〉的神道可能與西域系神道有其種關係. 這一點, 經過與敦煌儺裏所出現的神道們進行比較, 能看出一些線索. 總之, 〈驅儺行〉的儺戱形態不是百戱而是以神道爲中心的假面戱. 在神道方面, ?占有承先啓後的地位, ?旣繼承了新羅時代的五伎傳統, 又開了山臺戱的先河. 還値得一提的是, 對山臺中西域的影響問題, 本文只確認了其線索, 這是一個仍然未決的課題.
동아시아의 곽독희(郭禿戱)와 신라고려(新羅高麗)의 무애지희(無?之戱)
안상복 한국중국어문학회 2005 中國文學 Vol.43 No.-
The purpose of this paper is to suggest of possibility that `Muaejihee` is a model of puppet play as `Guakdokhee`. If `Muaejihee` is accepted as a model of puppet play as `Guakdokhee`, it can fill up a vacancy on the history of east asia puppet play. So I made the discussion on the theme of this paper through three aspects tool, form and purpose of `Muaejihee` with various documents of Korea and China. As a result, I could conclude my assumption that `Muaejihee` is a model of puppet play as `Guakdokhee` is very reasonable. In many aspects, there is no difference in the meanings of gourd as equipment for `Muaejihee` and a word `Gokdu` and `Guakdok`. Both of `Muaejihee` and `Guakdokhee` have the same form of performance dancing and singing. And both of them have the same purpose of performance an idea of emptiness too. Finally, I thought if my suggestion is reasonable the historical value of `Muaejihee` must be re-perceived and re-estimated.
巨鼇戴山에서 鼇山까지 ― 실크로드 관점에서 본 神山 조형물의 東漸과 그 결과
안상복 한국중국어문학회 2023 中國文學 Vol.114 No.-
From the Han Dynasty to the Sui Dynasty, performances of the mobile God mountain on the great sea tortoise are considered more as a result of the eastward wave of the India's shrine chariot through the Silk-road than as a self-sustaining phenomenon. In terms of religion, the performance of carrying out Buddha statue on the designated route is also judged to have become a precedent model for the ritual carrying out God statues through the Buddhism ritual during the Southern-northern Dynasty. But, On the other hand, the unmovable mountain for lantern, which seems to have started to appeared in the 8th century at the earliest, seems to be a product of a reaction triggered by India's mobile mountain, so I think it is possible to express the unmovable Mountain as a Chinese Lantern mountain. 漢代부터 隋代까지 공연 속에 이동형 巨鼇戴山의 퍼포먼스는 인도의 山車가 실크로드를 통해서 東漸한 결과로 보는 것이 자생적 현상으로 이해하는 것보다 더 합리적인 해석으로 생각된다. 종교적 측면에서 정해진 루트를 따라 神像을 巡行하는 기풍 또한 南北朝 때 불교를 통해 유입된 行像 의례가 선행 모델을 제공한 것으로 판단된다. 그러나 이와 달리 빨라야 8세기부터 가설되기 시작한 것으로 보이는 고정형 燈山은 이동형 山車가 촉발한 반작용의 산물로 보이므로 中國的 燈山이라는 표현이 가능할 듯하다.
≪요재지이(聊齋志異)≫ <투도(偸桃)>편(篇)의 연예사적고찰(演藝史的考察)
안상복 한국중국어문학회 2008 中國文學 Vol.56 No.-
Liaozhaizhiyi(聊齋志異) is a famous collection of short stories in the Qing(淸) dynasty. So a story named Toutao(偸桃) in it can be accepted as a fiction. In fact, it is just a record about a magic performance. I made an investigation into the historical development of this magic program. The result is as follows. Toutao(偸桃) is a name of a performance program which includes two types of magic. One is a rope magic performance in which the rope is rising to the sky by itself. The other is a killing&resurrection magic performance in which the magician kills a person at first and then brings him back to life. According to the historical records, we can say that they originated from India. At the beginning, each magic act is performed indivisually. Afterwards, two magic acts constituted a program performing the socalled story of stealing heaven`s peach. The change like this seems to occur in the 14th to 17th century. Toutao(偸桃) is a rare and important instance which describes the state of magic performance in the Qing(淸) dynasty. So I think it is desirable to put a high value on this record.
중일(中日) 두 나라의 산차(山車) 행렬과 잡희(雜戱) 비교 연구 ― 한중일(韓中日) 전통연희사(傳統演戱史)의 삼각관계를 풀어내기 위한 또 하나의 퍼즐
안상복 중국어문학회 2018 中國語文學誌 Vol.0 No.65
爲了進一步了解中日古代戱劇的關系史,本文擬對印中日三國山車戱的歷史發展進行比較,所得的主要內容大略如下: 第一、從歷史的角度來看,最早開始山車戱的國家是印度,其次是中國,最晩的是日本。且這三個國家的第一個山車戱都與佛敎有密切關係, 基於此, 筆者認爲中日兩國的山車戱都是來源于佛敎的。 第二,從宗敎儀式的觀点來看,山車的造型一般模倣當地寺廟的神殿, 及山車巡行基本要靠人力, 而中國和日本山車戱也保持這一特点。 第三,近世以前日本祗園會之散樂空車和久世舞車及延年之唐船,從字義來看,它們無疑是模倣唐宋時代的樂車和陸船, 這明明表示兩國山車戱有密切關系。 第四,自古以來,中國廟會中與山車一起出場的雜戱,大都是所謂散樂,而日本祭祀中的雜戱也是經過中國傳來的散樂。 第五,進入明淸以后,中國廟會發生變化, 卽臺閣代替山車的現象比較明顯, 與此不同,日本祭祀沒有這種變化, 一直重視山車。所以,筆者認爲大約15世左右中日兩國的山車戱開始分道揚鑣。 爲了抛塼引玉, 進行了以上的探討。希望本文對亞洲山車戱硏究能引起更多的關注及討論。