基于民俗仪式与符号阐释的《大傩图》补证

Supplementary Proof of the Great Nuo Picture Basedon Folk Ritual and Symbol Interpretation

大傩图》中人物极具符号性的装饰及道具所蕴含的民俗信仰因素,可以证明此图所画为仲春民间兼有驱傩、祈雨、娱乐功能的社火表演,更名为《社火图》较准确,不更名亦可。图中人物妆饰有"溪蛮"色彩,保有南方民族融合的痕迹。以执帚者为一号人物的一般说法可能有误,领队或一号人物当为蝶冠者。他们且行且吹打,滑稽搞笑,显然领队的临时掉头导致了队伍一团混乱,但此乱非真乱,抽去表象便可见队形乃呈反"S"或"龙抬头"状,属于太极图式,具有深刻的寓意,且能最优化集中定格12个人物,如此匠心不能不令人击节。人物衣袍多着补子,而补子至明代方形成制度,故此图断代为宋值得怀疑。人物假面黑符至今仍存在于社火及戏曲脸谱中,当为我国戏曲脸谱之早期形式。

The Great Nuo Picture collected by the Forbidden City in Beijing is a masterpiece of figure and genre painting, and has attracted the attention of many scholars. This article analyzes the extant original documents to determine the original meanings of the Nuo, the Rain Praying, the Rain Stopping and the Shehuo. The details of the symbolic decoration and props of the figures are tabulated to reveal the beliefs behind the folklore. The following five conclusions have been reaehed~ First, this painting depicted a team of Shehuo which had the multifunctions of Nuo （exorcism）, rain praying and entertainment. The flowers and branches worn by the characters embody both the vigor and power of spring. There are twelve figures, which conforms to the twelve beasts of the Nuo. The figures all wear masks, conforming to the rituals of Nuo. The costumes and props were designed to expel the evil. The frogs, tortoises, thunder patterns, moire, and clouds on the costumes not only appeals to the longevity of life, but also are related to the water. Therefore, it is more accurate to rename this painting as ＂the Shehuo＂, though the original name might still fit. Second, adornments of the figures are characteristic of ＂ Ximan＂ people. ＂Ximan＂, or ＂Wua-iman＇, is the general name for the modern Miao and Yao ethnic groups since the Qin and Han Dynasties. But during the Tang and Song Dynasties, most Miao people from the middle and lower reaches of the Han River to Huaihe River had been gradually merged with Han, and their differences disappeared. The figures in this painting show great interest in the patterns of maple leaves, butterflies, moths and birds, and give special significance to them. This differs from the records of literature, and echoes with Miao people＇s worship for the maple, the butterfly mother and birds of paradise. In addition, the figure with a butterfly cap has story patterns on the chest and left shoulder of his dress, featuring an honorable man with a Guanjin scarf and a feather fan. This honorable man might be Zhuge I.iang who has a sacred status among the Miao people and other southern minority nationalities. In the same pattern on the chest of the man with a butterfly cap, there is a man presenting a gift. He wears a headscarf, dancing and playing the barrel of Lusheng, which is still a common image of the modern Miao people. Therefore, we believe that this painting is characteristic of ＂Ximan＂. It can also be considered that this painting retains some traces of ethnic integration in southern China since Tang and Song Dynasties. Third, the man with a broom is generally regarded as the leader or the most important figure, but we think that the man with a butterfly cap is the leader, and according to the manner and bearing of the figures, we restore the procession as a reverse S shape, or ＂the Rise of the Dragon＂, which is a type of the Tai Ji schema. The figures are performing while they proceed. The procession is in a bit of a mess because the leader temporarily changes the course. The painter ingeniously captured the confusing moment of the procession, not only to illustrate the profound implication of ＂the Rise of the Dragon＂, but also to convey that strong festive and entertaining atmosphere. Fourth, the date of the painting should not be set in the Song Dynasty. Figures 1, 6, 7, 9, and 11 have ＂Buzis＂ （patches） clearly painted on the chest. In particular, there is a ＂Buzi（patch）＂ on the chest and back of Figures 7 and 9 respectively. This is the real ＂Xiongbei （chest-back）＂ （the alias of the Buzi）. According to the unearthed relics and related research on Chinese clothing, the Buzi was formed in the Ming Dynasty, and was a new symbol of official ranks of the Ming Dynasty. Therefore, the scene in this painting should occur in the Ming Dynasty, and the painter also seems to be living in the Ming dynasty. Fifth, the black symbols on the masks of the figures still exist in the masks of the Shehuo and operas, and should be the early form of the facial makeup of Chinese operas. In the painting, except No. 4, No. 7 and No. 10, the other figures have black dots and tadpole points on their masks. These black symbols seem to be related to water, or suggestive of facial features, and are still used in the opera facial makeup of the later generations.