摘要
考察陇南白马藏族傩舞戏发展演进的源流进程,可以发现显明的层累现象:处于其傩舞戏源头的"池哥昼",最有价值的是其傩面具的三目神造型,"麻昼"以本部族神崇拜为前提,以十二种动物来发挥驱疫逐魔的功能,渐蜕为一种娱人为主的民俗活动;在两者基础上,陆续层累演化出了处于中流、末流阶段的其他傩舞戏样式,如"阿里该昼"、"甘昼"、"池母擀面"、"杀野猪"、"秋昼"、"嘛勾池"、"秦州客"、"拐格达"等。这种层累现象,在展现其自身文化特色和蕴含的同时,也显示了傩文化的整体性与传承的零散性之间的明显矛盾,又说明了傩舞戏源流与他们的生活环境、生活方式在民族传承的经验方面有着密切关系。
When studying the origin and evolution of Baima Tibetan's exorcism dance-dramas,we can find several distinct stages of development.The very first stage is called "chige-zhou",in which the mask of exorcism is modeled after the Trinocular God."Ma-zhou" uses twelve animals to exorcise devils with the worship of tribal gods as the premise,which has gradually turned into a folk activity for amusement.Based on the previous two stages,other kinds of exorcism dance-dramas are created,including "aligai-zhou","gan-zhou","chimuganmian" and so on.These stages of development,while displaying local cultural characteristics and significance,show a relatively obvious conflict between the integrity of exorcism culture and scattered ways of inheritance.Furthermore,this paper points out that the origin of exorcism dance-dramas in the region has a close relationship with the living environment and life-styles of local residents in terms of the national lineage of experience.
出处
《文化艺术研究》
2011年第2期193-199,共7页
Studies in Culture and Art
基金
教育部人文社会科学研究规划基金项目<陇南白马藏族美术文化的整理与研究>
项目批准号为:09YJA760016
关键词
陇南
白马藏族
傩舞戏形式
层累现象
Longnan
Baima Tibetan
forms of exorcism dance-dramas
stages of development