2020-06-27

藏族古樂 Shon 的歷史圖景與當代傳存:基於西藏阿裡地區「古格宣」的人類學考察

任贇娟。〈藏族古樂 Shon 的歷史圖景與當代傳存:基於西藏阿裡地區「古格宣」的人類學考察〉。《民俗曲藝》208 (2020.6): 187-274
Ren Yunjuan. “History and Modern Transition of the Classical Tibetan Ritual Shon: An Anthropological Investigation of Guge Shon in mNga’ ris Highland, Tibet.” Journal of Chinese Ritual, Theatre and Folklore 208 (2020.6): 187-274.


Abstract

本文探討西藏西部藏族藝術「宣」(shon)的歷史圖景與當代傳存,通過歷時性和共識性關注該文化古今表演成因和方式,呼籲整體性關注非物質文化遺產。「宣」是藏族古老的儀式歌舞,千百年來在海拔4,500的高寒極地阿裡 (mNga’ ris) 活態傳承。阿裡因先後出現過象雄部落聯盟 (Zhangzhung,遠古—公元644年)和古格王國 (Guge,十世紀末—十七世紀)而著稱。「宣」據傳起源於象雄時期,曾為古格宮廷歌舞,後流播於阿裡民間。象雄時空歷史如迷,古格王朝遺址位於中華人民共和國西藏自治區阿裡地區札達縣境內,這一帶流播的「古格宣」(Guge shon) 文本豐富、禮俗交融,2008年被評為國家級非物質文化遺產。本文以「古格宣」為主要研究對象,基於13個月以上的人類學觀察,從史料實證、田野實考和當代實存出發,探討其歷史源流、傳統演變與文化內涵。筆者通過以下具體部分書寫來解釋宣為何、如何、何時且由何人來表演。第一,基於傳世文獻和壁畫圖像考辨 shon 的詞源演進與宣舞構成。第二,參照田野考察等多重證據,勾勒「古格宣」的歷史傳統和變遷脈絡。第三,聚焦札達縣「絨穹」村落「古格宣」的活態傳承,探析其口頭傳統及其多元面相。全文從歷時性與共時性雙重視角對「古格宣」展開研究,以期回應在印度被發現的象雄文化遺存「雍仲宣」(Yungdrung shon),反思民間文化古今在國家和區域、官方與民間的動態綿延及其時代效力。
This paper explores the tradition and modern transition of Tibetan old ritual art “shon” and calls for attention from both the government and the private sector to consider intangible cultural heritage as an integral whole.
Shon is an ancient ritual dance that has existed in the mNga’ ris highland for thousands of years as a living heritage. It is said that shon originated from ancient Zhangzhung tribal alliance. Later, it was performed during the Guge reign as a court dance before its transmission to the mNga’ ris people. It is still performed there as a living heritage. It was listed as a National Intangible Cultural Heritage in 2008 for its rich textual tradition and sophisticated rituals. My study on the origin, evolution and cultural connotation of Guge shon is based on historical data, field work and observance of the present performance with an anthropological perspective. Specifically, this paper aims to account for why, how, when shon was performed and by whom. I first trace the etymology of the word “shon” and analyze the structure of shon based on historical manuscripts and mural images. I then refer to various sources and give an account of the tradition and evolution of Guge shon. Finally, I explore the multiple aspects of Guge shon’s oral tradition in Rongchung, Zanda county.
To sum up, this diachronic and synchronic study of the Guge shon is a response to the discovery of Yungdrung shon (the heritage of the Zhangzhung culture in India). It reflects on the continuation and contemporary significance of folk culture inbetween the countries and their people.