回顾与突破:白马藏族面具舞文化面向探微

Review and Breakthroughs: a Detailed Exploration into Mask Dance Culture of Baima Tibetans

通过梳理,归纳出前人具有代表性的三种观点:傩文化、苯教文化与图腾说。研究发现,尽管这三种各有所据的观点均揭示了面具舞的某个文化"断面",但用某个"断面"言说面具舞的文化全貌尚显单薄。事实上,这些"断面"表明:在白马藏族先民与藏彝走廊其他族群之间的互动过程中,面具舞文化层呈"蛋型"结构累进图式。针对前人研究的缺失及造成缺失的原因,欲进一步深层揭示面具舞的文化面向,尚需在研究路径与视野上实现两个转变:其一、由过去主要依据汉文史料探讨的途径向依据"地方性知识"与汉文史料及考古实物相结合的途径转变;其二、研究视野应该由过去在族属框架内探讨面具舞向在藏彝走廊语境中探讨面具舞转向。

This paper introduces,through a summary and categorization,three representative predecessor views:Nuo culture,Ben religion and totem theory.It finds that these three viewpoints,though revealing a certain cultural“cross-section”of mask dance culture based on their respective evidence,fail to offer a panorama of mask dance culture because they attempt to do so in terms of some“cross-sections”.In fact,these“cross-sections”indicate that mask dance culture shows a pyramid-like pattern of progression during the interaction between Baima Tibetan ancestors and other ethnic groups in the Tibetan-Yi Corridor.In the light of the weaknesses of predecessor research and the reasons behind,we should transform our research approach and angle if we are to further reveal the cultural aspect of mask dance.First,there should be a shift from a former approach that relied on Chinese historical and cultural records to one that is based on combined investigation into“local knowledge”,Chinese historical and cultural records,and objects unearthed in archaeological excavations.Second,former investigations into mask dance carried out under the Tibetan framework should give way to investigations under the Tibetan-Yi Corridor framework.