Micro, also known as nail micro or nail. Some people say that micro is a name, and upper armor is a word. He and Xia Dixie were contemporaries, about 65438 BC+the beginning of the 9th century. From the ancestor of Shang Dynasty to the establishment of Tang Dynasty, *** 14 generation, Wei is the eighth generation, in the middle. He was an important leader in the history of Shang Dynasty who wiped out foreigners, avenged his father and won glory for Shang Dynasty. And created "? The ceremony of "Five Sacrifices".
(Shang), first of all, the name of the ghost refers to the ghost who died abnormally, which is called "strong fool"; The second is the name of the ceremony, ceremony; The third is sacrifice, verb. There are five kinds of offerings in the Five Sacrifices: doors, windows, wells, stoves and Liu Zhong (eaves or halls). The fifth sacrifice, "Shuo Wen Jie Zi" said: "Sacrifice to the Tao". Of course, there is also a process of "sacrificing on the road" to transport the remains of the sea back from foreign countries. However, minimally invasive is a "five sacrifices", not a general "Taoist sacrifice". At that time, the May 5th Sacrifice was probably a complete ceremony, because? Ghosts die unjustly, so they are particularly restless. Therefore, doors, windows, wells, stoves, eaves (rooms) should be searched and driven away, so as to avoid the omission of strong fools. It can be seen that the ceremony is finer and more laborious than the ceremony. Later generations divided Shu and Five Sacrifices into two ceremonies.
The Five Sacrifices of Creation was originally a sacrifice to his dead father, but its deep intention may be to strengthen national strength, conquer neighboring countries and seize the Xia King's regime. This is a great turning point in the history of the Shang nationality, and the Shang nationality has been growing since then. This is the beginning of the dry day. Yin people applied Tiangan to astronomy, calendar, agricultural production, clan pedigree and religious belief, which made Shang clan develop gradually in science and culture, even surpassing the strength of Xia Dynasty. This should be accelerated by Shang Jiawei.
Shang Mo is Shannon. Zong I Rao said, "Press? #9 1; That is, with promise. "
Zheng Xuan, a scholar in the Eastern Han Dynasty, commented on the Book of Rites, Rural Sacrifice and Villagers Soup: "Soup is either a sacrifice or a funeral." In this way, it is actually a gift with three uses. You see: First, it is regular to drive away general ghost epidemics. Second, not regularly. It is more intense and complicated than Nuo, because it is to drive away powerful dead ghosts-ghosts who died abnormally. Search and drive away doors, windows, wells, stoves, eaves (or rooms). Third, sacrifices, Jia Jiawei must make sacrifices to pay homage to his dead father. Rites in ancient China were a basic political system, which related to all aspects of social life. Etiquette is distilled from custom. Etiquette is the law, and violation of etiquette is illegal. Rites are a kind of religion, and ancient rites are also religious activities organized and managed by the state. Therefore, the religious history of China is often called "the religion of national patriarchal clan system".
In ancient China, rituals were divided into five categories: auspicious, fierce, military, guest and meticulous, which were called five rituals. The ancient history of more than two thousand years is also a history of five rites. Han rulers use this system, as do ethnic minority rulers in charge of the central government. Even in the Republic of China, the etiquette system at that time was also included in the classification of five rites.
The Nuo ceremony in ancient times had two major tasks: one was to Nuo regularly; Second, buried with the dead emperor. At least it is related to military salute and fierce ceremony. Therefore, to understand and study Nuo culture, we need to know a little common sense of five rites. To put it simply: an auspicious ceremony is a ceremony for gods and ancestors. Closed meditation is the greatest gift of all time. 2. Fierce rites refer to ceremonies of casualties and disasters, including floods, droughts, famines, defeats and chaos, among which funerals are the most important. The third kind of military ceremony mainly refers to military and martial arts ceremonies, including personal expedition, sending generals, surrender, triumph and shooting. Nuo ceremony, most dynasties are attributed to military salute. The four rites refer to the relationship between monarchs, ministers, fathers and sons, as well as the relationship between the central and local governments and between China and foreign countries. Five rites refer to "festive" ceremonies such as enthronement, conferring, marriage, feasting and imperial edicts.
Nuo ceremony is a military ceremony in the Five Rites, and it is an action with military nature. As Jia Shu said in the Tang Dynasty, Nuo ceremony "is also a military matter". Fang was the protagonist of Nuo ceremony in Zhou Dynasty, led by Xia, who was in charge of military and political taxation. Fang himself has no title and is not among the scholars, but he is a lower-ranking official who specializes in exorcism and epidemic prevention. Fang is called "crazy husband" because they are all tall, strong and capable people in the army. It can be seen that the ritual significance of Nuo ceremony in Zhou Dynasty is "the soldiers defeated the ghost epidemic". Nuo opera is a form of drama evolved from the initial Nuo sacrifice activities. It is the twin brother of the combination of religious culture and drama culture, and has accumulated religious culture and folk art in various historical periods. This kind of opera art form once spread all over three places and four waters. Miao, Dong, Yao and Tujia villages in our province all have their active figures, and they are one of the local operas in our province. Xiangxi calls it drama, Nuo drama, land drama, teacher's son drama, southern Hunan calls it teacher's drama, lion's drama, and word-practicing drama, northern Hunan calls it Nuo wish drama, Jiang's daughter drama, and central Hunan calls it Nuo wish drama and Laojun drama.
Nuo is an ancient ritual ceremony to drive away epidemics, bless and eliminate disasters and overcome difficulties. Witchcraft songs and dances have gradually integrated acrobatics, witchcraft and other contents, and the factors of acting and performance have also increased, and they have learned from and communicated with other local operas, and even a situation of Nuo opera has emerged. Subsequently, the witchcraft activities in all parts of our province showed a trend of gradual drama, and the repertoire was increasing day by day. By the time of Tongzhi and Guangxu in Qing Dynasty, Nuo opera had initially stepped out of Nuo altar and entered the stage, and it could be performed all year round. In the thirties and forties of this century, Nuo opera also entered a lively town performance.
After the founding of New China, the feudal superstition of Nuo Opera was suppressed. For various reasons, Nuo Opera has disappeared in most parts of China, but this ancient form of opera still exists in some parts of our province, and some amateur or semi-professional Nuo Opera troupes are still active in western Hunan, southern Hunan, northern Hunan and some ethnic minority areas. The protagonist of the court Nuo instrument is Shi Xiang, the military attache who is specially appointed by the court to drive away epidemics and ghosts. He wore a bearskin on his head and put it over his shoulders. With four golden eyes on his head, wearing a brown coat and a red skirt, Xiong Pi led the 120 "sinful slave", frantically searching for ghost plague in a room of the palace and driving it out of the palace. "Zhou Li Shimonoseki" is written like this: "Fang homesick, palm: bear skin, golden eyes, mysterious clothes and businessmen, holding Levin shield, leading a hundred miles to drive away the epidemic." This is the basic style of Nuo in the Western Zhou Dynasty, which is so simple and rude.
What does "Golden Four Eyes" mean? There are still many debates in academic circles. In the Qing Dynasty, Sun Yirang believed that the square mask was not mounted on a bearskin head, but four golden eyes were connected in series with a rope, and then two ends were hung on the ears, and the four golden eyes were arranged on both sides of the nose. This statement has a reasonable component. Today, the masks of "chicken mouth" and "pig mouth" in Lean, Jiangxi Province are similar to this method.
There are five kinds of slaves in the Western Zhou Dynasty: guilty, barbarians, Fujian, barbarians and raccoons, and the last four are foreign prisoners. Sin slaves are people who have been demoted to slavery because of their sins. At ordinary times, 120 was chosen to do "small things at home" (light work) in the government, and when Nuo ceremonies were held, Fang led them to drive away the plague ghosts in the palace. "Hundred Li" in Nuo instrument is a divisor, which is actually 120.
The ritual system of Zhou Dynasty is quite complicated, and most of them pursue solemnity, accompanied by music and dance. But it also retains the rough ceremony of Nuo. As a model of Nuo ceremony, this kind of palace Nuo ceremony was later called "Zhou Old System". It has three characteristics:
First, it is a ceremony that the court must hold. The court meets once a year in spring, autumn and winter. Winter is held on New Year's Eve. Because of the coldest weather, people all over the country have to participate in different degrees of Nuo ceremony, which is called "big Nuo", and slaves also have to participate.
The second is the remains of the original Nuo concept. The protagonist is still dressed as half man and half beast. It inherited the format of expelling "invisible ghosts" long ago (after it was spread to Japan, it was quickly changed into tangible ghosts. Some places in China and South Korea later used visible ghosts). The whole ceremony didn't believe in God, let alone pray for God. Nuo instruments always rely on Fang's fierce ugliness and strength to drive away epidemics.
Thirdly, it retains a strong primitive group dance element. The whole ceremony was simple and rude, and there were no redundant procedures such as welcoming the gods and seeing them off. Just before Nuo ceremony, there was a ceremony of "Shemeng", which was to pray for the good luck of the Emperor in the coming year and pave the way for Nuo ceremony. Nuo instrument itself is weak in religious factors. Fang and Bai Li exorcise evil spirits, but only express an aversion to disease, and there is no other plot. In ancient times, Nuo dance was simple and rough, and maintained a strong primitive group dance characteristics. Entering the Qin and Han Dynasties, due to the new development of faith and artistic activities, Nuo instruments are required to be improved. Beginning with Nuo ceremonies in Qin and Western Han Dynasties, some new contents and procedures were gradually added. First, on the basis of Fangbaili, boys and girls were added. In the early years of the Eastern Han Dynasty, boys and girls were changed to "boys and girls". By the end of the Han Dynasty, "Twelve Animals Eat Ghost Songs" and its performance process were added.
This kind of Nuo system at the end of the Han Dynasty recorded in Sima Biao's History of Continuing the Han Dynasty in Jin Dynasty was not mentioned in all other historical books of the later Han Dynasty. Among them, most of the 12 Zodiac animals (also known as "Twelve Animal Gods" or "Twelve Gods") were published without investigation, and most of the 11 diseases that the 12 Zodiac animals "eat" could not be found. This is probably because the experience of this Nuo system is very short, and it was a moment of panic, which made the allusions lost and eventually became an eternal mystery. Twelve Animals Eat Ghost Songs is about twelve animals, namely, Zuo, Zhu Wei, Xiong Bo, Teng Jian, Zhu Lan, Qi Bo, Liang Qiang, Zuming, Wei Sui, Cuoduan, Qiong Qi and Tenggen, who should eat ghost tigers, epidemics, spells, ominous, strange, dreams, sudden death, parasitism and watching death respectively. Finally, we should persuade the ghost epidemic to run away as soon as possible, or the twelve animals will dig their hearts and lungs, cramp and peel them, and let them eat them. Among the twelve animals, four can be clearly found:
(1) Xiong Bo, the legendary god who can eat "spells".
② Birch trees, namely birds and anchovies. He was originally a person, but his father believed his stepmother's slanderous remarks, killed him and turned him into a birch bird. After his father found out that he killed him by mistake, he shot his stepmother. The birch becomes a bird, but his heart is as clear as a mirror, so he can know and eat nightmares.
(3) Qiang Liang, also known as Jiang Liang, is a tiger-headed man with long hooves and elbows, who can hold the title of snake. There are two kinds of ghost diseases in Liang Qiang and Zuming: sudden death and parasitism.
(4) Qiong Qi, like a cow, with hard hedgehog hair, its voice is like a dog, eating people. He also said that he was like a tiger, with a long tail, claws like hooks and hands like saws. It specializes in eating honest and honest people, but is careful to wait on evil people. This is an amazing "Qiong Qi". Together with rattan roots, Qiong Qi can eat the most popular ghost epidemic method.
It can be seen that all the zodiac animals are born in a bad family, and even a good white birch is thought to kill people by his cry.
But the overall structure of this Nuo instrument recorded by Sima Biao is clear. It has a simple plot of "advocating first → educating later → expelling the epidemic", and the whole ceremony is a embryonic Nuo opera. That is, the 120 priest, headed by eunuch artist Zhong Huangmen, advocated (as if singing) "Twelve beasts eat ghost songs"; Secondly, Fang Xiang and Twelve Animals (please note: this is a unilateral dance word, emphasizing its performance elements). Ren Bantang, an expert in the history of Chinese drama, said in the book "Tang Dou": "The Han Dynasty is a great Nuo, and the square fights twelve beasts, starting with fighting and ending with dancing." Fighting is the process of surrendering the twelve beasts and turning them from evil to good; Dance is to lead the Twelve Animals and 120 priest to drive ghosts out of the palace one by one. 120 The players tinkled their bells (Miao drums), and the sound of drums and people's cries was earth-shattering and huge. Can the ghost epidemic not be scared away? The hypothesis that Nuo originated from primitive hunting activities has been recognized by many scholars. This hypothesis holds that it has a development process from exorcism to exorcism.
Hunting is a production project that has lasted for millions of years, and hunting animals in heavy flooding is a basic skill. After long-term hunting practice in Paleolithic Age, people constantly observed and imitated the behavior of animals, and danced after hunting to express the joy of hunting success and love for animals, and tried to imitate them realistically. This is the primitive-driven group dance, an art that is closest to the natural state.
Later, the mask hunting method was invented. People use masks to disguise themselves, so it is easier to approach and attack wild animals, and the success rate of hunting is greatly improved. People think that the mask itself has some power, which leads to the psychology of reverence and even awe for the mask. Early hunting masks were false shapes and false heads. After the combination of primitive masked group dance and primitive witchcraft, it gradually evolved into primitive masked witch dance; Entering the Neolithic Age, with the development of agricultural economy, Nuo dance gradually turned to farming as the theme and became the Nuo dance in agricultural society.
Early humans living in different areas had relatively different living conditions. The emergence of private property has caused great social division. In China, there are different economic types, such as settled dry farming, rice farming, semi-settled agriculture, grassland nomadism and plateau agriculture and animal husbandry. At the latest in the Bronze Age, different cultural forms such as the official culture in the Central Plains, the witch official culture in the south and the shaman culture in the north were formed. At least in archaeology, there is a qualitative difference between them. Then many different forms of masks were created to drive away witch dances. In the Central Plains, primitive Nuo instruments were formed.
This primitive Nuo instrument should have some characteristics: it was chaotic at first, with no neat pace, imitating the speed and efficiency of chasing animals. Without programs and inheritance, every dance can be different. But the basic morphological language of "expulsion form" is indispensable; You need to wear animal skins (quasi-false shapes) or masks, dress up as animals when hunting, and imitate them as realistically as possible. There are countless Nuo gods and drama gods in China. With a little recognition, you will know that Nuo God and Drama God have many similarities.
First of all, people generally call Tang a drama god, but as early as the Ming Dynasty, the Nuo team in Yizhou, Hubei Province carried the idol of Tang with them, which shows that Tang was also a Nuo god. Similarly, Erlang God, Lao Lang God and Prince God all have the dual identities of Nuo God and drama God.
Secondly, the idols of God are often boys. In the old days, the precious props in the troupe were idols of the drama gods. Before going on stage, the actors should bow to the puppet props and pray for a safe and smooth performance. This kind of baby prop is called Tang or God. In Inner Mongolia, Hebei, Tianjin and Northeast China, the custom of "offering colored babies" is popular. "Color Baby" is a boy, two wood carvings, a man and a woman, wearing colored underwear. Actors should burn incense and bow down to "Cai Wazi" before taking the stage. The drama god "Master Zhuang" in Henan, Shaanxi Province is also a woodcut teenager. During the reign of Kangxi in the Qing Dynasty, a troupe in Gansu called the drama god "the boy".
The idol of Nuo God is often a boy figure carved in wood. Many Nuo classes in Jiangxi offer sacrifices to Prince Nuo, and a boy idol is placed on the sacrificial table, and the "Prince" should be worshipped before and after the performance. On the clothes of Nuo opera actors, the words "Prince Nuo" are written. The Nuo God enshrined in Nuo Temple in Youshi Village, Nanfeng County is the portrait of this boy. The idol of Nuo Opera in Guichi, Anhui Province is a rural child more than two feet high. Fujian Shaowu has the belief of "Prince and Bodhisattva", and his idol is a woodcarving child. A variety of Nuo Opera, Shigong Opera in Longyan, Fujian, called a baby "Prince Daddy", and there was a ceremony to greet "Prince Daddy" before and after the performance. There is also a ceremony of "seeing off the prince" in Guizhou Nuo ceremony. The statue is a wooden boy statue about a foot long, and the genitals are deliberately carved. Wait, the list goes on.
The similarity between Nuo God and Drama God not only reflects the fact that drama originated from Nuo, but also reflects that infant worship and reproductive worship are deeply rooted in our country.
The fundamental purpose of Nuo is to drive away epidemic ghosts, because epidemic ghosts make people sick and cause death. In the eyes of ancestors, babies are the easiest to get sick and die young, so expelling epidemic ghosts for babies has become one of the basic purposes of Nuo since ancient times. At the same time, women who can't have children or boys are also regarded as plagues, so it is not surprising that it contains the purport of reproductive worship.
As early as the Han Dynasty, 10 to 12-year-old 120 boys were used in the court Nuo opera, and the Nuo opera spread in Nantong, Jiangsu Province has been called "Nuo opera" so far, reflecting people's strong desire to continue future generations. The Chinese nation is a nation that values literature. Records about witchcraft and exorcism can be found everywhere in classics, history, books and collections. Classics and history mainly record the ritual procedures of the palace "Nuo"; Zi and Ji are mostly recorded in the form of folk "hometown furniture". Although the records are rich, they are all "talking without doing" and lack of detailed research.
Following Wang Guowei, in 1930s, Wu Jia, a scholar studying in Japan, wrote A History of Totem Art.. This book mainly introduces the research perspectives and achievements of western scholars on primitive totem art, and at the same time, the appendix "The Heritage of Totem Dance in China" summarizes the witchcraft customs related to totems in ancient China literature. The author thinks that the "Dance of All Animals" in the ancient legends of China is the legacy of primitive human animal-like dance. The article also combs the classic, historical, typical examples of Confucianism, Taoism and concentration, as well as Niu Dance, New Year Dance, "Yue Yue" of Miao nationality in Guizhou and "Pan Hu Dance" of Li nationality in Hainan. , and wrote:
About the origin of Nuo dance and Nuo dance, it is said that the dances of simulated animals are used to drive away plagues and ghosts in all directions.
Around the Spring and Autumn Period, the original intention of Nuo dance custom has changed to exorcise evil spirits and epidemics. Hundreds of operas and Jiaodi have also evolved into one of the entertainment forms of folk festivals. However, the movements, rituals and body decorations in the dance still have the intention of imitating animals, and the traces of totem dance are easy to find.
This view has the value of "discovery" and provides a new perspective. But it is limited to the totem factor of "beast-like" and does not include others.
Drama historians also quickly noticed this. Zhou wrote in the first chapter of the History of Chinese Drama, Embryo of China's Drama, that the book was completed in the 1940s and published in 1953:
The music and dance that originally worshipped gods belonged to witches. After three generations, music and dance were gradually used for entertainment, but … was only part of the ceremony. It is difficult to tell a singer from a dancer.
In the Han dynasty, ... inherited the system of Zhou and Qin dynasties and the etiquette of sacrifice ... still advocated the old ceremony, but on a different scale. For example, "exorcism" is a ritual, but it is actually done through dance. ..... Although this form may come from folk, it is still solemn, which reflects that the development of music depends entirely on folk sources.
This paper discusses the relationship between witchcraft and drama, emphasizing human creation.
Because witchcraft involves feudal superstitions, it has been gradually regarded as an academic forbidden zone since the 1950s. 1spring of 956 and1summer of 957, the China Dance Research Association of the Ministry of Culture and the Chinese Dancers Association organized two investigation teams to investigate and record the Nuo dances left over from Jiangxi and Guangxi, and then stopped. In the sixties and seventies, the Cultural Revolution broke capitalism, and witchcraft exorcism was naturally among the "ghosts" that were swept away and could not be studied.
Needless to say, witchcraft is incompatible with modern society. But the humanistic, historical and artistic information it carries is irreplaceable and precious information. In the early 1980s, after the Cultural Revolution, related topics were put on the agenda. It immediately attracted the attention of scholars at home and abroad. Hua, then chairman of the Artists Association, believed that Nuo masks were "a treasure house of folk art"; Cao Yu, chairman of the Dramatists Association, marveled that the cultural phenomenon carried by witchcraft and exorcism is another "Great Wall of Culture and Art" of our nation. With the deepening of research, "the history of Chinese drama may be rewritten". On the basis of a series of discussion activities in various places, in June 1988 1 1, the China Nuo Opera Research Association was formally established, which marked that the research on witchcraft customs entered the level of group research. Since the establishment of the Society 12 years ago, it has United and contacted more than 300 scholars in the fields of drama, folklore, dance, art and music, and achieved fruitful results. According to statistics, members have written more than 20 monographs and more than 1000 papers. In cooperation with scholars in Taiwan Province Province, he published the Investigation Report on Witchcraft and Exorcism and more than 80 kinds of folk Nuo operas, local operas and Mulian operas. In cooperation with relevant units, from 1990 to 2002, nearly 10 international academic seminars were held in various regions of the country, which made great efforts to carry forward our traditional Nuo culture.
In addition, numerous Chinese and foreign visits, academic discussions, exhibitions, performances and mutual visits have been held in various regions. Undoubtedly, since 1980s, the study of witchcraft and Nuo opera has become a hot spot in academic and cultural research, creating an unprecedented new situation.