Английская Википедия:Gigaku

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Шаблон:Short description Шаблон:Italic title Шаблон:For multi Шаблон:Nihongo, also known as Шаблон:Nihongo[1] refers to an extinct genre of masked drama-dance performance, imported into Japan during the Asuka period.

History

Records state that Шаблон:Transliteration was introduced during the 20th year of reign of Empress Suiko (612 AD)[1][2] by a certain Шаблон:Nihongo[1][3] from Kudara kingdom (Baekje), one of the Three Kingdoms of Korea. According to accounts, Mimaji arrived in Sakurai and taught Шаблон:Transliteration to the Japanese youth.[4] It is said that he had studied Шаблон:Transliteration in Wu (China), showing that the origins of Шаблон:Transliteration can be traced back to China, as during the Suiko period (593/604–658 AD), the Japanese court took heavy influence from Chinese and Korean culture.[5] The regent at the time, Prince Shōtoku, played a decisive role in allowing and diffusing Buddhist culture within Japan; this spread of culture allowed Шаблон:Transliteration to be performed and viewed by many Japanese individuals, as it promoted the religion.[4] Шаблон:Transliteration peaked during the first half of the 8th century, but began to disappear when Шаблон:Transliteration took over as the official entertainment of the imperial palace, though Шаблон:Transliteration was still performed and taught in areas far from the capital and continued to play a role in Japanese entertainment until up to the 14th century.[4] Many wooden Шаблон:Transliteration masks were painted at this time, most dating from the Nara period (710–84), and are now preserved at the Hōryūji and Tōdaiji temples and the imperial treasure house (Shōsōin), all in Nara.[6] Masks were an integral aspect of Шаблон:Transliteration theatre and represented various characteristics and properties and later influenced other parts of Japanese theatre.

The history of Шаблон:Transliteration is often widely debated, as there is no documentation of Шаблон:Transliteration in mainland Asia aside from a few extant masks. This lack of strong evidence often makes it difficult for researchers to decipher the true origins of Шаблон:Transliteration, and its processes, characters, plots, and performances.

Performance

Шаблон:Transliteration was performed in silent mime,[1] to the accompaniment of music.[1] The flute, waist drum (or Шаблон:Nihongo,[7] also known as Шаблон:Nihongo3),[1] and Шаблон:Nihongo, a type of gong, were the three instruments used in the Nara period, though the gong was superseded by a type of cymbal (Шаблон:Nihongo) in the early Heian period (9th century).[8]

About the only surviving description of the performance comes from the musical treatise forming a part of the Шаблон:Interlanguage link multi (Шаблон:Lang; 'Selections for Instructions and Admonition')[7] authored by Шаблон:Interlanguage link multi (died 1242).[1] According to this, the Шаблон:Transliteration, or tuning of instruments, signals the start, followed by a prelude of instruments.[7] Then there is a parading of the whole cast, both dancers and instrumentalists.[3] It has been speculated that the character mask named Шаблон:Nihongo probably took position at the front of the parade,[9] especially as this mask is listed first off in the assets ledgers (Шаблон:Nihongo) for some of the temples that house Шаблон:Transliteration masks.[9] The program opens with the Lion Dance (Шаблон:Transliteration),[7] and solo dances by the Duke of Wu,[7] wrestler, the birdman Шаблон:Transliteration, and the Brahman priest.

Archetypes

There are two wrestler archetype characters, the Шаблон:Nihongo or "Vajra-yakṣa" who is open-mouthed,[10] and the Шаблон:Nihongo who is closed mouthed.[10][11] These two are said to be analogous to the two Niō or guardian gate statues, who respectively form the open and closed A-un shapes in their mouths.[10][11] Rikishi and Konron masks are often mixed up due to their similar features, they possess a darker complexion, bulging eyes, large mouths and jutting teeth.[4] These masks can be differentiated through their facial expressions as the Konron is less aggressive than Rikishi.

With the exaggerated features of many of the masks, the content of the play is described as being farcical.[7] Indeed, the two-part play of the Шаблон:Nihongo (or Konron; Chinese: Kunlun nu which denotes a black man or negrito)[12] and the Rikishi (wrestler or "Strong Man") is outright obscene.[7]

In the ribald performance, the lascivious Kuron falls in lust for the Gojo (Wu woman or Chinese maiden), and expresses his desire by holding up his phallic prop called Шаблон:Nihongo, and beating it with his hand fan.[11] The comic dance maneuvers are referred to as Шаблон:Nihongo3. In subsequent development, the Kuron is subdued by the Rikishi who binds the Kuron by his equipment (Шаблон:Transliteration), and drags him along by the noose around his manhood.[11]

Masks

Файл:Masque 01.jpg
Шаблон:Transliteration masks from Horyuji temple

Influence

Many of these masks also influenced other Japanese theatre forms; Noh, for example particularly has masks very similar to the Шаблон:Transliteration masks of Шаблон:Transliteration and Шаблон:Transliteration.[30] The well resemblance of Шаблон:Transliteration can be seen in the well known Noh mask of Koomote as well as Chido and Konron to the ghost and demon masks with their stark, exaggerated, and frightening features.[30] Though these masks share similarities it is important to note that there are also differences with them, for example the masks of Noh are much smaller in comparison to Шаблон:Transliteration, this is also the case with Шаблон:Transliteration (the emerging theatre form after Шаблон:Transliteration).

See also

References

Шаблон:Reflist Шаблон:Refbegin

Шаблон:Refend

External links

Шаблон:Music of Japan

Партнерские ресурсы
Криптовалюты
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Разное

  1. ↑ 1,0 1,1 1,2 1,3 1,4 1,5 1,6 Шаблон:Harvnb, p.357-8, on gigaku men (mask)
  2. ↑ Шаблон:Cite book
  3. ↑ 3,0 3,1 Шаблон:Harvnb volume=5, page=483-4, article on gigaku by ja:吉川英史 (Kikkawa, Eishi, 1909~2006, traditional music related art historian)
  4. ↑ 4,0 4,1 4,2 4,3 4,4 4,5 Шаблон:Cite book
  5. ↑ Lattimore, Owen. "A Treasury of Inner Asian History and Culture: A Review Article."Pacific Affairs, vol. 50, no. 3, 1977, pp. 426, Periodicals Archive Online
  6. ↑ Шаблон:Cite book
  7. ↑ 7,00 7,01 7,02 7,03 7,04 7,05 7,06 7,07 7,08 7,09 7,10 7,11 7,12 Шаблон:Harvnb, p.37-
  8. ↑ Шаблон:Cite book, p.207
  9. ↑ 9,0 9,1 9,2 Шаблон:Harvnb, p.914 on "Chido""
  10. ↑ 10,0 10,1 10,2 10,3 10,4 Шаблон:Harvnb, p562, on "Kongō" and p.1559 on "Rikishi"
  11. ↑ 11,0 11,1 11,2 11,3 Шаблон:Harvnb, p.85, p.101, etc.
  12. ↑ Шаблон:Harvnb, p.37n, quote:"Konron (Chinese: K'un-lun) is an ithyphallic being who presumbably represents the dark-skinned native of South Asia.." etc.
  13. ↑ TNM (ex-Horyuji)Шаблон:Dead link quarter view
  14. ↑ Шаблон:Harvnb, p.633 on 'shishimen"
  15. ↑ Шаблон:Harvnb, p.633 on 'shishiko-men"
  16. ↑ TNM (ex-Horyuji) (ex-Horyuji) and another tamer, TNM (ex-Horyuji)
  17. ↑ TCM (ex-Horyuji)Шаблон:Dead link
  18. ↑ ex-Horyuji, Cultural Heritage Online
  19. ↑ TNM (ex-Horyuji)
  20. ↑ TNM
  21. ↑ TNM (8th century)
  22. ↑ TNM (ex-Horyuji)
  23. ↑ TNM (ex-Horyuji)
  24. ↑ Шаблон:Harvnb, p.862 on "Taiko"
  25. ↑ TNM
  26. ↑ TNM
  27. ↑ TNM
  28. ↑ Шаблон:Harvnb, p.752 on "Suiko"
  29. ↑ TNM
  30. ↑ 30,0 30,1 Tian, Min. "Chinese Nuo and Japanese Noh: Nuo's role in the origination and formation of Noh." Comparative Drama, vol. 37, no. 3-4, 2003, p. 343+. Literature Resource Center
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