【作者】 荣新；

【导师】 潘鲁生；

【作者基本信息】 山东大学 ， 文艺学， 2014， 博士

【摘要】 在中国人的生活中,纸扎作为丧俗祭祀活动的产物已传承上千年。纸扎自诞生之日起,即作为丧葬礼仪中的一种象征符号,表现出浓厚的信仰、礼仪特性。鲁西南丧葬纸扎,不是纯粹用于欣赏的工艺品,而是为祭祀亡灵制作的实用性供奉、祭祀用品,它与当地隆丧厚葬的习俗相伴生,承载着鲁西南乡民的灵魂观念、鬼神信仰、伦理道德、礼仪规范等多方面的内容,揭示出传统文化的深层内涵与意蕴,是鲁西南地区重视礼教、传统的直观反映。本文以田野调查为搜集资料的主要方法,在大量第一手材料的基础上,采用整体研究的方法,考察民众生活中的纸扎如何借助视觉语言符号表述民众的心意、观念、情感,理解和把握其意义的生成与表达；并选取具体的仪式语境,将鲁西南纸扎还原到民俗活动情境与过程中,探究其深沉厚重的文化内涵和艺术表现,揭示由纸扎引发的村落中纸扎艺人、孝子孝女、村民、宾客等相关群体之间关系的互动。本文包括绪论、正文、结语三部分。绪论部分介绍了本选题研究的缘起,在对国内民间艺术研究范式的转型及近30年来纸扎研究概况、鲁西南纸扎研究现状三个层面梳理的基础上,提出本文的研究目的、研究视角与方法,说明本研究从仪式语境角度考察纸扎在乡民生活中发挥的功能及其本质特征的意义所在,力求实现以小见大的研究目的。第一章从自然环境、人文历史、生活常景三个维度描述鲁西南纸扎艺术的生存空间,揭示纸扎与乡土社会、乡民生活的依存关系。由生产方式所决定,鲁西南地区至今保持农耕文化特色,注重传统,重视礼仪,尤其是丧葬仪式,都要隆重祭祀,从而成为鲁西南纸扎生存发展的沃土。第二章展开纸扎的艺术形态分析。首先,梳理了随葬物由活人实物到陶俑木俑再到纸人纸马的历史脉络,考证了纸扎由唐代产生、宋代兴起、明清普及以及在现代社会出现的变化这一发展历程；并探讨了纸扎作为明器的象征意义,认为纸扎作为艺术化的造物,是民众情感与观念的物化表现形式,因此“假”的物品也就具有了“真”的意义。第二节考察并记述了鲁西南纸扎的类型、材料与工具、工艺流程及审美特征。第三节对鲁西南纸扎最具特色的纸扎戏曲人物进行了重点分析,探讨戏曲表演艺术与纸扎工艺这两种艺术形式如何能够实现结合与相互转换,呈现“戏中有画、画中有戏”的审美表达。第三章通过呈现鲁西南地区具体的热丧仪式与冷丧仪式个案,将纸扎置于丧葬仪式这一乡民生活常景中考察其文化功能。纸扎作为丧葬仪式中的象征符号,虽然是静止的、无声的,但在仪式过程中又表现为动态的参与。通过考察纸扎从订货与制作、使用与展示直至被焚为灰烬的过程,揭示处于仪式时空中的纸扎所扮演的角色,分析纸扎所承载的乡民的灵魂观念、伦理道德、礼仪规范等方面的内容,具体而微地呈现纸扎引发的村落中生者与死者、血亲与姻亲以及村民与孝眷、纸扎艺人之间多重社会关系的展演与互动,从而阐释纸扎在当地社会中的象征符号意义及文化功能。第四章在对鲁西南纸扎的艺术形态和文化功能有了更深刻认识的基础上,总结纸扎艺术的特征及其生存与发展状况。由服务于丧葬仪式的功用所决定,纸扎是短命的艺术,从被下单订货至在坟头焚化,只有短短三五天时间,这种短暂性决定了其使用的材料、生产方式、工艺流程等方面都要与之相适应；同时,纸扎又是生活常态的艺术,因其实用功能未发生变化,纸扎依然表现为生活情境中的实用与审美艺术,并通过参与丧葬仪式在乡民生活中不断重复出现、使用；而且由于蕴含特定的信仰观念,纸扎制作无法实现产业化生产,也很难开发为旅游产品,所以纸扎一直以原生态的方式存在于民众生活中。纸扎的这两大本质特征决定了纸扎艺术生存与发展的影响要素大致包括功能的决定性作用、科技进步的主导作用、“国家在场”的控制与导向作用、民间评议的隐性影响力四个方面。在多种要素的相互作用与角力之下,鲁西南纸扎呈现出常态发展态势,至今仍是鲜活的民众生活中的艺术。文章最后得出结论,鲁西南丧葬纸扎作为仪式中的象征符号,与乡民生活形成相互构建的关系,一方面,乡民生活型塑着纸扎,乡民的信仰观念与审美情趣决定了纸扎生存发展状态与艺术形态；另一方面,纸扎服务于乡民生活,在仪式中整合与重构乡土社会的各种关系,并实现其审美、娱乐、教化功能。对于纸扎等丧俗艺术的保护,应使之处于自然发展状态,与生活同步,与市场关联,为它适应生活的自动变革创造宽松自由的环境,使它在传统和现代、机械与手工之间寻求到适度的契合点。更多还原

【Abstract】 The paper binding has inherited for a thousand years as a derivate of funeral customs in Chinese people’s lives. The paper binding has showed up full-tasting belief and ceremony characters as a symbol mark in funeral customs since the beginning. The paper binding is not only crafts for appreciating but also appliance of worship and sacrifice for ghost. Growing up with the local grand funeral customs in southwest of Shandong province, the paper binding, which is bearing the concept of the soul, ghosts and gods faith, moral principles, etiquette patterns of the local villagers. It reveals the deep connotation and implication in traditional culture and the much attention to etiquette and tradition.Fieldwork is the main method to collect information in this thesis. Based on plenty of first-hand material, this thesis adopt holistic approach to investigate how the paper binding express the demotic mind, idea and emotion in virtue of visual language symbols. By selecting the definite ritual context, this thesis restores the paper binding of southwest of Shandong province into folk custom activity situation and process, explore its profound cultural connotation and artistic expression. This thesis tries to reveal the interactions between the related groups such as paper binding artists, family of the deceased, villagers and guests, etc.This thesis consists of preface, text and epilogue. The preface introduced the origin of this topic. Based on the analysis of the transformation of civil folk art research paradigm, civil study of paper binding since1988, and the current study of paper binding in southwest of Shandong province, I propose research objectives, research perspective and method of my thesis. I want to explain the significance of putting paper binding into villagers’living to explore it’s function and substantive characteristics so as to achieve the purpose of through a small clue can see something important.The chapter I describes the living circumstance of paper binding art in southwest of Shandong province through natural environment, cultural history and life routine, so as to reveal the dependence relationship between paper binding art and rural society, villagers’living. Determined by the mode of production, farming culture characteristics is maintained in southwest of Shandong province, such as value the traditions and protocols, especially solemn sacrifice needed in funeral ceremony. This is the living environment of the paper binding in southwest of Shandong province.The chapter II profoundly analyzes art form of paper binding. In Section I, I give an account of historical evolutionary line of funerary wares which had changed from living persons and material objects to pottery and wooden figurines, and then to paper dolls and paper horses. Then I research the development history of paper binding art which was generated in Tang Dynasty, sprang up in Song Dynasty, popularized in Ming Dynasty and Qing Dynasty, and transformed in modern society. By discussing the symbolic significance of paper binding art as funerary wares, I consider the paper binding is materialized form of popular emotion and concept as a kind of artistic creation. Therefore the "fake" material has the true meaning. The Section II investigate and narrate the genres, material, tools, technological process and aesthetic characteristics of paper binding art in southwest of Shandong province. The Section III focus on analysis of opera characters of paper binding, which is the most important characteristic of paper binding art in southwest of Shandong province. I discuss how to the opera performance art and paper binding art can combine and interconvert to aesthetic expression.The chapter III presents one funeral ceremony and two third anniversary ceremony, investigates cultural function of paper binding for funeral ceremony in villagers living routine. As a symbol mark of funeral ceremony, the paper binding act silently, but dynamically participate in ceremony process. By investigating the process of the paper binding from being ordered and manufactured, to being put to use and demonstrated, to being burnt to ashes, I reveal the role of paper binding acting in the ceremony, analyze villagers’concept of the soul, moral principles, etiquette patterns, etc, which is represented by paper binding. Then I concretely present multiple social relations’expression and interaction triggered by paper binding between the living and the dead, the consanguinity and affinity, villagers, the bereaved and the handicraftsman. Consequently I explain the symbol meaning and cultural function of paper binding art in the local society.Based on profound understanding of art form and cultural function, the chapter IV summary the characteristic, the survival and development of paper binding in southwest of Shandong province. Decided by its function of servicing for funeral ceremony, paper binding is a short-lived art. There are only three to five days for the paper binding from being ordered and manufactured to being burnt to ashes. This transience result on that it must adapt its material, mode of production and technological process to the short time. At the same time, paper binding art is the normality art in daily life. Due to the utility function being maintained, paper binding art still manifest as applied and aesthetic activity in life situations and repeatedly appear in villagers life by participating in funeral ceremony. On the other hand, because of the faith concept, paper binding art can’t carry out industrialization of production, and can’t be exploited to tourism products yet. As a result, paper binding art has always been in popular life by the original form. The substantive characteristics of paper binding art determine the influential factors of its survival and development to four factors:the decisive role of function, dominant function of science and technology progress, control and guide by government, hidden influence of village regulation and agreement. Influenced by interaction of variety of factors, the paper binding art in southwest of Shandong province present a normal development situation. It still is the fresh and alive art in public lives to this day. At last, based on survival state of the paper binding, I put forward some proposal of how to protect and develop funeral art.In the end, I propose the conclusion. As a symbol mark of funeral ceremony, the paper binding in southwest of Shandong province built a kind of mutual relationship with the villagers living. On the one side, the villagers living such as the belief and aesthetic taste of villagers determines the survival status and art form of paper binding. On the other side, the paper binding service the villagers living. It integrates and reconstructs various kinds of relationship of local community, and carry out the function of aesthetic, entertainment and cultivation. Regarding the protection of funeral art such as paper binding, we should put it to natural developing status and make it together with life and market. We also should create relaxed and free environment for its voluntary change following the pace of life and make it find temperate meeting point between tradition and modern, machine and handwork.更多还原