论南音造像中“大而神之”的艺术特征--以孟郎君造像为例

On the Artistic Characteristic"Big and Divine"of Nanyin's Art of Statue,An Example of Art of Statue for Meng Langjun

南音,被誉为中国传统音乐的“活化石”,具有特殊历史文化价值和人文魅力。由于其历史悠久、师承严谨、口传心授等因素限制,现存文献资料极为匮乏;目前发掘到最早的南音古文献可追溯到明万历年间,之后陆续出现星点文献,于唱奏形式、乐器形制、旋律形态、润腔方法、曲式结构、语言文字、曲谱特点以及南音历史渊源之事,靡不涉猎,然独不涉及造像艺术。作为非物质文化遗产乐种,只关注其音乐文字方面,视觉造像艺术却是视而不见,那么所出成果亦是“两张皮”的常态,传承亦是日渐式微。故笔者以南音中经典造像孟郎君造像为例,努力探究南音造像艺术中所蕴含的文化特征和审美意蕴,进而弥补当下南音文化传承中造像艺术的缺失,以期引发南音传承者基于非物质文化遗产保护“本真性”与“整体性”的视角对自身文化传承进一步省思。

Nanyin, which is praised as "living fossil" of Chinese traditional music, has special historical and cultural values as well as humanistic charms. The existent documents and materials are extremely deficient owing to its long history, rigorous apprentice system, verbal and mental instructions etc. The earliest documents of Nanyin discovered at present dated from the Wan Li Era of the Ming Dynasty. Since then, a small amount of documents appeared successively, including the forms of the performance, the structures and designs of instruments, the melodic formation, the method of touch up, the musical structure, the language and characters, the characteristics of score and the historical origin of Nanyin. Nevertheless, the art of statue was not involved. As a musical genre of intangible cultural heritage, if its musical characters are emphasized while its visual art of statue are ignored, it will make achievements of "two unrelated elements" and the inheritance will disappear gradually. Therefore, the writer will explore the cultural characteristics and aesthetic implication involved in the art of statue of Nanyin through the example of art of statue for Meng Langjun in Quanzhou, a classical one among Nanyin. Then, the study will make up the lacking in art of statue of Nanyin’s cultural inheritance to arouse the reflection of the cultural inheritance by Nanping’s inheritors from the perspective of protecting "authenticity" and "entirety" of intangible cultural heritage.