摘要
历史悠久的中华民族传统寺庙蕴含丰富的艺术文化、宗教文化、历史文化等内容,也蕴含着人类早期诸多文化因素。20世纪初期引起国外诸多专家学者及旅行者的极大兴趣和关注,特别是匈牙利学者李盖提·拉约什在1928-1931年期间到我国调研并撰写完成的纪实性旅行记《黄色的神祇黄色的人民》,成为欧洲学者从事东方学、藏学、蒙古学研究不可缺少的经典著作,书中记述了以往西方调查者没有发现的重要学术信息。本文结合相关史料,分别从寺庙建筑外部艺术表征、寺庙建筑构成特点及所涉及的绘画音乐艺术内容等五个方面对此书内容加以解读,并从历史学、宗教学、神话学、艺术学的视角,扼要阐发《黄色的神祇黄色的人民》一书记述的多民族文化相互影响的细节,力证我国东部蒙古族地区寺庙是多民族往来的历史载体,由此呈现该书对中西方文明互鉴、我国多民族交流交往交融历史研究所具有的不可忽视的学术价值和现实意义。
In the early 20th century,data on temple culture and related historical documents of China spread to the West through different channels and attracted the interest of many foreign experts and travelers.The Hungarian scholar Ligeti Lajos is one of them.Yellow Gods,Yellow People(Sárga istenek,sárga emberek:egyév Bels-Mongólia lámakolostoraiban)is a documentary work wrihen by Ligeti based on his fieldwork and is seen as an invaluable historical work in modern history that presents a multicultural blending of Mongolian temple art interpreted from the perspective of a Western scholar.However,academics at home and abroad have said little about the scholarly value of the book.Therefore,this paper analyzes and studies the temple architecture,statues,paintings,and music recorded in this particular book:It observes the representations of the organic blending of multi-ethnic cultures,such as Han,Mongolian,Tibetan,and Manchu cultures in the temple art of the eastern part of Inner part of Inner Mongolia from the perspective of Western scholars.Firstly,this paper integrates the relevant historical materials and starts from the external artistic representation of temple architecture to interpret Ligeti s account and perception of the temples in the eastern part of Inner Mongoli at both macro and micro levels.It finds that the external architectural art of the temples in Ligeti s writing was characterized by multicultural interactions and exchanges,as strongly evidenced by the dragon decorations on the temple gates and the inscriptions on a stone tablet in the temple compound carved in Han,Mongolian,Tibetan,and Manchu texts.Secondly,this paper focuses on Ligeti s records of types,names,and the evolution of the materials of temple statues,and interprets Ligeti s presentation of the sculpture art inside the temples and in particular the external features of the statues of gods and devils from the perspectives of religious studies and mythology.It objectively reveals the historical facts of a multicultural intermingling of Han,Mongolian,Tibetan,and Manchu ethnic groups embedded in the art of temple statues in Mongolian areas in the 1930s.Finally,by analyzing study objects of Ligeti—materials and tools that were used in painting and music as well as their content and form—this paper aims to reveal a deep inner connection between traditional Han and Tibetan paintings,the history and evolution of the use of Han stringed instruments in the religious music of the temples,as well as the process of fusion of multi-ethnic musical instruments in the music of the temples,all discovered by Ligeti.In conclusion,the empirical research on the above three aspects reveals that the details of multi-ethnic cultural intermingling contained in the book Yellow Gods,Yellow People strongly supports the theory that the temples in the eastern part of Inner Mongolia are not only holy sites of Tibetan Buddhist culture,but also historical carriers of multiethnic cultural exchanges and intermingling.
作者
汪立珍
田梦
Wang Lizhen;Tian Meng(School of Chinese Ethnic Minority Languages and Literatures,Minzu University of China,Beijing,100081;Information Center for Social Sciences,Renmin University of China,Beijing,100872,China)
出处
《民族学刊》
CSSCI
北大核心
2023年第6期27-34,142,共9页
Journal of Ethnology
基金
国家社会科学基金重大项目“东北人口较少民族口头文学抢救性整理与研究”(18ZDA269)阶段性成果。
关键词
内蒙古
寺庙艺术
多元文化交融
Inner Mongolia
temple art
multicultural integration
作者简介
汪立珍(1964-),女,满族,黑龙江哈尔滨人,中央民族大学中国少数民族语言文学学院,教授、博士生导师,研究方向:民间文艺学、神话学;田梦(1991-),女,汉族,黑龙江齐齐哈尔人,中国人民大学书报资料中心编辑,研究方向:比较文学、民间文艺学。
