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归元寺僧人们在做告赦仪式的过程中,运用了很多听得到的音响或旋律以及一系列的观想、手势等无声状态的行为方式。通过这些贯穿在整个仪式过程中的,有声的和无声的音声与行为,僧人表达了自己有关“佛”的理念。这一过程对局内人而言,有其严肃的宗教性意义。学者们曾经提出了建立研究中国“近”信仰体系仪式音乐的理论构架之设想,将“概念、行为、音声”三者关系实践化,并配合“近—远”、“内—外”、“定—活”三个基本的两极变量思维方法来研究中国道教仪式音乐。本文有关归元禅寺水陆法会内坛告赦音乐的研究,便是将上述理论引申到佛教仪式音乐领域进行探讨的一项个案。
Guiyuan monks in the process of doing amnesty ritual, the use of a lot of sound or melody heard and a series of ideas, gestures and other silent state of behavior. Through these voices and sounds of sound and silence throughout the ritual process, the monks expressed their own notion of “Buddhahood.” This process has serious religious significance to insiders. Scholars have put forward the idea of establishing a theoretical framework for the study of ritual music in China’s “near” belief system, putting into practice the concept of “concept, behavior, and sound”, and cooperating with “near-far” “Inside - outside”, “Ding - Live” three basic two pole variable thinking method to study Chinese Taoist ritual music. This article about the study of allegations of amnesty music in the Yuan-Yuan Temple Law and Order Society is a case in which this theory is extended to the field of Buddhist ceremonial music.