“巫舞”的活动指称与义涵分化

The Referential Meaning and Intonation Differentiation of Witch Dance

本文从中国舞蹈原始发生的研究角度,论述了巫、無、舞,是一件事的三个方面,通过"两袖舞形"相互联系,从陈梦家《殷墟卜辞综述》中论述的"巫"与"舞"有某种内在关联,到《竹叶亭杂记》记载的把"以舞降神"称作了"跳神",《法言》中扬雄认为"舞"字下部为"足"的"会意",以《大濩》为代表的求雨祭神舞蹈,都佐证了这一观点。在研究过程中,意义指称(对事物的命名)与集体表象(情感和运动因素)是解读"巫舞"的好方法。因此,研究中国舞蹈的原始发生,从"巫"切入才有可能真正贴近"原点",发现"初心"。

This paper,in the perspective of the primitive origins of Chinese dance,expounds that the witchcraft,the idea of nothingness,and the primitive dance art are the three aspects of the same matter,relating with each other through ＂the two dancing sleeves＂. The Review of the Oracle Inscriptions of the Relics of Shang Dynasty by Chen Mengjia explains that the witchcraft and the dance are related internally. The Notes of Bamboo Leaves Pavilion records that calling gods to come down through dancing is named＂dancing gods＂. The author of The Words of Standards and Principles,Yang Xiong argues that the lower part of the Chinese character＂dance＂refers to the ideograph meaning of dancing steps.Da Huo,the representative work of music and dance in Shang Dynasty,is the dance praying for the rain and honoring the gods. All these evidences show that the witch and the dance are the same thing in Shang Dynasty. The study of the referential meanings and collective representations is the efficient method to interpret the witch dance.Therefore,only in the perspective of ＂witch＂,will the study of the primitive origins of Chinese dance press close to ＂the original point＂and discover ＂the original mind＂.