汉画盘鼓舞的舞人身份及其身体叙事

Identity of Dancers and Body Narrative of Pangu Dance on the Han Stone Reliefs

前人对汉代盘鼓舞的研究多涉及历史溯源、文化内涵、舞器类型、表演形式等方面,而罕见对舞人身份及其身体叙事的研究,这在一定程度上限制了今人对汉代盘鼓舞的认知,而大多将其归为“女乐歌舞”或“适欢馆”的“杂技的一种”。究其原因,是在一定程度上忽视了对汉画盘鼓舞的细致考察与阐释。汉画不仅为汉代的社会、历史、文化研究提供了直观证明,亦为汉代舞蹈研究提供了形象依据。可以说,汉画盘鼓舞是汉代盘鼓舞形象及其审美理想的典型映射。因此,文章综合运用图像学、历史学、舞蹈身体语言学等研究方法,通过“读图析舞、以图为核、图史互证”的方式,对汉画盘鼓舞的舞人身份及其身体叙事进行阐释。整体看来,汉画盘鼓舞呈现出了多样化的舞人身份与多层次的身体叙事。

Previous studies on Pangu dance of Han Dynasty mainly focus on the history, cultural connotation, types of dance props, and performing forms, however, the identity of dancers and their body narrative were rarely studied, which to some extent limited our understanding of Pangu dance and most of us categorized it as “a female dance” or “ a kind of acrobatics” of “ secular entertainment”, due to the lack of detailed investigation of Pangu dance portrayed on the Han stone reliefs. Nowadays, history, archaeology, imagology, art, and other studies have linked together and formed an organic whole with various branches of art studies. The image-centered dance study should place images in a prominent position, especially for the study of ancient Chinese dance which lacks dynamic images. As a kind of concrete and genuine historical material fabricating “the history of Han Dynasty”. The Han stone reliefs not only provide visual evidence to study the society, history, and culture but also provide imagery evidence to study the dance of Han Dynasty, therefore Pangu dance on the Han stone reliefs are the images of Pangu dance of Han Dynasty and the typical mapping of their aesthetic ideals. By the way of “viewing images to analyze dance, verifying history through images, and images and history corroborating each other”, this paper uses the research methods of imagology, history, dance body language to explain the identity of dancers and their body narrative of Pangu dance on the Han stone reliefs, so as to enrich our historical cognition of Pangu dance of Han Dynasty. Overall, the Pangu dance on the Han stone reliefs presents us with diversified identities of dancers and multilayered body narratives.