CAJ | 학술논문

印度两大史诗作为历史范畴的文化现象，是一种活态艺术。艺人说唱具有即时即型性。写定本的固定作用，导致活态艺术的消逝而成为标本。线性的起始与终点，消融于原始意识、集体意志之中。史诗及其说唱，规模在于情景，其“原始”性，在于艺人自我意识的消磨和群众的集体参与、迷狂。作为人类跨越文明门槛的历史印记，史诗的艺术魅力是不可企及的。
인도량대사시작위역사범주적문화현상，시일충활태예술。예인설창구유즉시즉형성。사정본적고정작용，도치활태예술적소서이성위표본。선성적기시여종점，소융우원시의식、집체의지지중。사시급기설창，규모재우정경，기“원시”성，재우예인자아의식적소마화군음적집체삼여、미광。작위인류과월문명문함적역사인기，사시적예술매력시불가기급적。
As a historically cultural phenomenon, the two epics of ancient India, Mahabarata and Ramayana, belong to the category of oral art, characterized by improvisational performance. The birth of written texts has resulted in the fossilization of that form of art as an artistic specimen. It should, nonetheless, be noted that beth the birth and the death of the two epics are closely connected with the primitive consciousness and collective will of people participating therein. The attractiveness of epics and their performance lies in the scenario and atmosphere they created, in their ＂primitiveness＂, and in the carnival participated in and enjoyed by both the actors and the audience. As a historical heritage of human civilization, epics are second to none in artistic charm.