摘要
文章从藏地万物有灵思想下原始巫术舞和图腾舞及宗教仪式原初的形态、藏地民间与宫廷乐舞的原初表演特点、后宏期寺院宗教活动的再度恢复中"羌姆"作为一种新的文化元素的创造和逐渐成熟等方面分析了西藏宗教乐舞的历时性特征。
The paper discusses the dance rites＇diachronic from the animism and the necromancy, the germination and development of holyday dance. Expatiated it art modality, mature ritual, and analyses the active effect on the ethnological art and innovation of religious art.
出处
《西藏艺术研究》
2009年第4期32-38,共7页
Tibetan Art Studies
