紙馬製作技藝及使用習俗的傳承分析

王坤。〈紙馬製作技藝及使用習俗的傳承分析〉。《民俗曲藝》207 (2020.3): 215-53。

Wang Kun. “An Analysis of the Inheritance of Zhima Craftsmanship and Conventions.” Journal of Chinese Ritual, Theatre and Folklore 207 (2020.3): 215-53.

Abstract

作為源頭性的民間藝術，紙馬的產生年代很早。北宋張擇端在〈清明上河圖〉中繪有「王記紙馬鋪」；明初施耐庵在《水滸傳》中著有戴宗使用紙馬的情節。紙馬體現着中國人的「萬物有靈觀」，是人與自然對話的媒介，反映着中國人的天體觀、宗教觀、信仰觀。通過紙馬「請神」，詮釋了中國人與大自然「天人合一」的觀念，作為古人重要的精神方式傳承至今。在江蘇、雲南、河北三省，紙馬這一古老的版畫藝術，作為一種精神載體目前仍然活態使用，並且被視為當地民間信仰的核心。

本文的研究源起係「中國木版年畫」申報「人類非物質文化遺產代表作名錄」過程中引發的思考。透過在紙馬產地的實際田野調查，分析紙馬這一傳統民俗版畫在不同地域的傳承情況，特別是其製作與使用的現狀。探討在「非物質文化遺產」概念普及程度愈來愈高的當下，持有不同身分屬性的傳承人所面對的境況。同時追問，對於那些極具民俗性、集體性的非物質文化遺產項目，即深度融入民眾日常精神生活與物質生活的事項，如果僅從技藝傳承的方面去考量，那麼將失去該遺產項目在民眾生活中豐富多樣的真實形態，而這部分內容往往未能列入國家非物質文化遺產名錄中。

As a source of folk arts, zhima appeared very early in history. In one of the scenes depicted in Along the River during the Qingming Festival of Northern Song Dynasty, there is a Wang’s zhima shop. In the Ming fiction Water Margins, Dai Zong used zhima to make haste on his trip. Zhima embodies Chinese animism. It is a medium between human and nature. It also reflects the Chinese perception of heaven, religion, and belief. That one can invoke deities with zhima perfectly illustrates the integration of universe and humanity in Chinese philosophy. This important spiritual way of life has continued to this date. In Jiangsu, Yunnan, and Hebei provinces, the ancient art of zhima engraving is still a living tradition and the core of local religious life.  

This study originated from afterthoughts arisen from application for the inclusion of the Chinese Woodblock Prints’ in the List of Intangible Cultural Heritage of Humanities. Based on actual field investigation in zhima production locations, I analyze the inheritance of traditional folk zhima in different areas, paying special attention to the current handicraftmanship and usage. I discuss how inheritors of various background face circumstances in a time when the concept of intangible cultural heritage becomes more and more prevalent. I also look into Intangible Cultural Heritage candidates that demonstrate strong folklore nature and collectivity, i.e. those that are deeply integrated into daily spiritual and material lives of common people. I argue that if one takes only the inheritance of handicraft into consideration, one will be missing the rich and diverse authenticity of this cultural heritage item.