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Fazhao 法照, Jin Bifeng 金璧峰and the Development of Northern Chant at Wutai Shan=法照、金璧峰、和北宗詠誦法在五臺山的發展 |
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| 著者 |
Szczepanski, Beth (著)=潘淑雅 (au.)
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| 掲載誌 |
一山而五頂：多學科、跨方域、多文化視野中的五臺信仰研究國際學術研討會=An International Conference The Mountain of Five Plateaus： Studies of The Wutai Cult in Multidisciplinary and Transborder/Cultural Approaches
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| 出版年月日 | 2015.07 |
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| 出版者 | 山西省佛教協會 |
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| 出版地 | 山西, 中國 [Shanxi, China] |
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| 資料の種類 | 會議論文=Proceeding Article |
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| 言語 | 英文=English |
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| ノート | 主辦方: Buddhist association of Shanxi Province 山西省佛教協會
作者單位:Lewis and Clark College 美國路易斯克拉克學院 |
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| 抄録 | This article examines the purported sources for Wutaishan’s unique local genre of Buddhist chant and music, which is known as “northern style Buddhist music.” Chant and ceremonial music at Wutaishan includes melodies and wind instruments not found in mainstream Chinese chant practice. Origin myths point to Tang-era monk Fa Zhao and Ming-era Chan master Jin Bifeng as sources for innovations in chant and music at Wutaishan. In the eighth century, Fa Zhao reportedly experienced a vision in which Mañjuśrī taught him to chant “Namo Amitābha” in five different styles, a technique known as “Wu hui nianfo”. According to Han Jun and Xiao Yu, this technique comprises the melodic basis for Wutaishan’s local chant. In the thirteenth century, Wutaishan Chan master Jin Bifeng wrote, “In accordance with the Avataṃsaka Sūtra, the sound of hymns should be clear and elegant, with all forty-two zou, as is the earthly practice.” (Quoted in Han, 2004, 28) The term “zou” (奏) often refers to the performance of music, so Han concludes that Jin’s statement supported the use of wind instruments in Buddhist chant. In this chapter, I will analyze current versions of “Wu hui nianfo” from various regions of China to see if any remaining traces of melodies unique to Northern Buddhist music, and I will explore the question of whether or Jin Bifeng’s reading of the Avataṃsaka Sūtra likely inspired the addition of melodic wind instruments to Buddhist chant at Wutaishan.
本文考察了被稱作“北宗佛樂”的五臺山獨特的地方佛教誦贊和音樂的來源。五臺山的唱贊和法會音樂中，有不見於中國主流佛教唱贊的曲調和管樂。關於其起源，傳說中與被認為是五臺山禪誦和音樂革新源頭的唐代僧人法照和明代禪僧金璧峰有關。八世紀時，據說法照經歷過一次文殊菩薩顯聖，受指導以五種方式念誦“南無阿彌托佛”，即“五會念佛”技巧。韓軍和肖雨認為這種技巧構成了五臺山地方唱誦曲調的基礎。到十三世紀，五臺山禪僧金璧峰“嘗制華嚴佛事，梵音清雅，凡四十二奏，盛行於世。”（Han,2004,28)“奏”一詞常指音樂演出，因此Han認為，這種說法顯示在佛教贊誦中使用了管樂。在本文中，我將分析來自中國不同地區的“五會念佛”現行版本，檢查是否殘存任何獨屬北宗佛樂的曲調痕跡；我也將考察金璧峰對《華嚴經》的解讀，確定它是否啟發了五臺山佛教唱誦加入了管樂。 |
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| ヒット数 | 139 |
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| 作成日 | 2020.10.16 |
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| 更新日期 | 2020.10.27 |
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