净琉璃作为日本民族文化的璀璨明珠之一,与歌舞伎、能、狂言并称为日本四大传统舞台艺术,在日本戏剧史上熠熠生辉。净琉璃可谓造型艺术与戏曲艺术的集大成,在演出脚本、舞台音乐、制作工艺和造型雕刻等方面都保有极为独特的艺术特色。如今,净琉璃仅仅在文乐的表演剧团里勉强延续着日趋羸弱的生命力。然而江户年间,尤其是元禄年间到十八世纪中期,净琉璃与歌舞伎并驾齐驱代表着当时民间艺术的最高成就。本文以净琉璃剧作代表作家近松门左卫门的《曾根崎心中》为切入点,来探寻日本净琉璃艺术世界中的悲剧情怀。 As one of the shining pearl of Japanese national culture, net glaze, together with kabuki, can, and kanji called Japan’s four traditional stage arts, shine in the history of Japanese drama. Net glass can be described as a combination of modeling art and opera art, in the performance of the script, stage music, production technology and modeling sculpture and other aspects of maintaining a very unique artistic features. Today, net glass barely continues the weakest vitality in the performance troupe of Bunraku. However, during the years of Edo, especially between the Yuanlu period and the mid-18th century, net glass and kabuki kept pace with the highest achievements of folk art at the time. In this article, I try to explore the tragedy feelings in the net world of Japanese glazed art with “Kanezaki’s Heart” as the representative of the net glaze dramas.