說唱俳優在漢代社會中的存在價值
中國古代藝術從上古至晚清，每一階段的轉變都各有其的特色以外，也都反映了當時的政治、文化。漢代，位處於中國古代藝術發展高峰的時期，其上承接大一統的秦國，其下傳承至社會風氣開放的唐代，使漢代的藝術發展成為研究中國社會發展至關重要的時期。在出土文的物中，漢代陶俑原始功用為漢代帝王、貴族陪葬用，而在少部分的陪葬品中能見到「說唱俳優」。說唱俳優大部分由男性侏儒擔任，其主要功用為透過肢體及言語以取悅皇帝，更能在詼諧的言語中進諫，獲得皇帝的愛戴。因此，本文將從俳優此一角色在歷史上的差異開始分析，加以探討說唱陶俑之演出形式、功能轉變及其如何出現在漢代社會，以了解違背漢代禮法制度下，戲謔、詼諧的風貌是如何存在。
關鍵詞：漢代說唱俑、侏儒、禮法制度
The Social Value of Storytelling and Ballad-Singing Figurines in Han Dynasty
From the ancient times to the late Qing Dynasty, each stage of the transformation of ancient Chinese art has its own characteristics, as it also reflected the politics and culture at that time. Han Dynasty, at the peak of ancient Chinese art development, inherited the tradition of a unified state under Qin and had yet needed to progress to the next level of Tang Dynasty with open social atmosphere, this unique spot in time has made Han Dynasty a crucial period to study the development of Chinese society. Among some of the artifacts, the original function of pottery figurines was to serve as burial object for emperors and nobles during Han Dynasty, and occasionally, there would be some storytelling and ballad-singing figurines. Most were male pygmies, who performed to entertain emperor through body and speech, especially in voicing some remonstrance with jocular words, which would be more acceptable and even loved by the emperor. Therefore, this paper would start by analyzing the difference of the role of storytelling figures throughout the history, to explore the form of performance, the functional transformation and its acceptance in Han Dynasty society, specifically about the coexistence of such humurous style of art in total opposition to the ceremonial rules of reinforced proper etiquette in Han Dynasty.
Keywords: Han‘s storytelling figurines; Pygmies; Ceremonial rules
講者:卓玨
現為國立政治大學歷史所博士生，並擁有多年的舞蹈學習及教學背景。2015年開始，在國立臺灣體育運動大學碩士指導教授的帶領下，燃起舞蹈研究的興趣，並完成了以歷史遺跡與當代詮釋為主軸的碩士學位論文。碩士畢業後，期望能透過史學方法來輔佐研究舞蹈更深層的面向。因此，於2018年就讀國立政治大學歷史博士班至今，並於2016開始多次赴徐州、西安、洛陽、鄭州、濟南、四川等地做采風考古研究。
Chueh Chuo, who is a doctoral student at National Cheng-Chi University, has many years of experience in dancing and education. Since 2015 during her sophomore year at National Taiwan University of Sport, under the advising professor’s guidance, a passion for research in dancing has been kindled in her heart, while she also completed the Master’s thesis on the theme, “Revived from Historical Relics and Contemporary Interpretation”. After graduation with the Master’s degree, she will like to orient more in-depth on research of dancing in terms of historical study. Therefore, even before starting her enrollment in the doctoral program of history at National Cheng-Chi University in 2018, she has already conducted many archaeological research projects in several places, including Xuzhou, Xi’an, Luoyang, Zhengzhou, Jinan, Sichuan and many other locations since 2016.