民族文化仪式中的美学问题研究——以道教斋醮科仪为例

A Study on Aesthetic Problems in the Ceremony of National Culture——Taking the Taoist Ritual as an Example

“仪式”在民族文化生成谱系中扮演着重要的角色,同样它也是一道重要的美学命题。以道教斋醮科仪为例:其一,在形式上,具有“演剧”性质(即“人演神的剧”),满足了美学作为感性学的学科界定以及能从仪式中获得优美(或崇高)的情感体验;其二,内容上,它融合诗文、音乐、舞蹈等艺术手段,达至娱神消灾的伦理目的,拓展了美学研究内涵;其三,观念上,斋醮仪式进行过程中,所涉服饰法器、道场布景、符篆隐语,皆有象征寓意,合构诠释了“得道成仙”“济度重生”的哲学观念,于日常生活之外重构了一种独特人文时空和精神场域。将“仪式”作为“典礼艺术”而重新纳入美学研究范围,有助于拓展美学边界,激活传统资源,重建“仪式美学”新理论,形成美学研究的新增点长。

“ceremony”plays an important role in the genealogy of national culture,and it is also an important aesthetic proposition.Taoist ceremony of Zhaijiao is taken as an example:firstly,in form,it“performs”in a specific field,with the nature of“acting”(i.e.“the drama of human performing God”),which satisfies the aesthetic discipline definition as sensibility and emotional interest of pleasure;second,in terms of content,it combines poetry,music,dance and other artistic means to express the specific purpose of entertaining gods and eliminating disasters,thus expands the connotation of aesthetic research:thirdly,in terms of concept,in the process of the ceremony of Zhaijiao,the dress and ritual instruments,the setting of the Daoyuan,and the implied language of Fu and Zhuan all have symbolic meanings,reconstructing a unique humanistic space-time and spiritual field beyond daily life.Today,it is helpful to re-integrate“ritual”as“ceremonial art”into the scope of aesthetic research to expand the boundary of aesthetics,activate the traditional resources and rebuild the new theory of ritual aesthetics.