四川汉代乐舞画像砖中的裙摆范式研究

A Study on the Hemline of Skirts in the Music-and-Dance Bricks in Sichuan of the Han Dynasty

裙摆作为四川汉代乐舞的一种舞器,其形制一直沿用至今。但在当代,大众文化与消费社会所打造的文化产业追逐视觉刺激,遮蔽了裙摆的意义设定,裙摆在舞蹈语汇体系中已经以现代性身份而存在,唯美与逼真的代价是舞者所携带的深度文化意义的消逝,而重返“裙摆”所携带的文化“景观”就成为当下舞蹈文化研究的一个进路。当然,这并非要复原某一个舞蹈动势,而是要借其管窥汉代乐舞文化韧度和独有的艺术精神。

The hemline of the skirt has been an essential element in the performance of music and dance ever since the Han Dynasty.However,we must see that with the disappearance of the function of the portrait music-and-dance brick,the etiquette of using it as a tomb culture has quietly faded.Today,the persistence of visual culture created by the mass culture and the consumer society has replaced the meaning of the skirt in the image of the portrait brick.At present,the skirt swing is already in the vocabulary of dance and has been established by the identity set by modernity.Returning to the cultural“landscape”carried by the“skirt”has become a way of studying the current dance culture.Therefore,our study of the skirt in the image of the portrait brick is not to restore a certain dance momentum,but to see the toughness of the culture and the unique beauty of the Han dance.