日本胡人假面形象溯源——評龜兹樂舞有關的學術考釋新收穫

On the Origin of the Facial Image of the Japanese Masks:Comment on the New Academic Achievement of Kucha Music and Dance

本文對《中華文史論叢》2013年第1期刊發的葛曉音、戶倉英美《"撥頭"考》一文作了肯定的評價,認爲這是有關龜兹樂舞學術考釋的新收穫。爲了作更深入、更具體的探討,本文從考古文物與文獻考釋互證角度作了若干補充,增加了日本正倉院所藏胡人"長鼻"誇張造型的"醉胡王面",增添了新疆庫車出土的七世紀"龜兹舍利盒樂舞圖",其中有描繪八個人臉戴假面演出的"蘇幕遮"場面,手法寫實,更有説服力,從而清楚了日本胡人假面形象的淵源,西域龜兹——盛唐文化的傳播絕不是一件虚幻的事情,而有切切真實的證明。

This paper positively holds that the article Investigation of the Term Botou by Ge Xiaoyin and Tokura Hidemi is the new academic achievement of Kucha Music and Dance.To deepen the discussion,this paper further introduces the " mask with the exaggerated facial image of the drunk foreign King" preserved in Shosoin of Japan,and the dramatic " pictures of eight masked dancers on the box of Buddhist bone relics" unearthed in Kuqa of Xinjiang,China.It reveals that the facial image of the Japanese Masks,was certainly originated from the music and dance culture of Kucha during the glorious Tang Dynasty.