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
出版日期
2015.07
出版者
山西省佛教協會
出版地
山西, 中國 [Shanxi, China]
資料類型
會議論文=Proceeding Article
使用語言
英文=English
附註項
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
摘要
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.
