说“象”:中华民族舞蹈原始发生蠡测续说(二)

Talking about “Xiang”:A Preliminary Study on the Origin of Chinese National Dance (Part Two)

“象”是中华民族舞蹈原始发生中的一种文化存在。《象舞》是周代一个比较重要的祭祀舞蹈。作为周公纪功乐舞的《象》又称《象箾》,《象》的“以箾为仪”指向《易》的“象也者像也”。汉代宫廷中有一种专职艺人称为“象人”,“象人”的“蒙假面”与“方相氏”的“相人”之意均与丧葬事宜相关。荀子《非相》的义理积淀于“偶人”的形制和“面具”的图式之中;张衡《西京赋》的“舞像”更指向整体的“舞者”——其中的汉之“戏象”一词,正是从“戏倡舞像”中点化而来,而“戏倡舞像”本自“尸礼废而像事兴”。由“象人”与偶、与俑、与傀儡的关联一直联系到“傀儡戏”,显然已远离周公的纪功乐舞《象》,也无关乎《荀子·儒教》所言,“戏象”之说显然是从“舞象”一词演变而来的。

The concept of “Xiang” represents a cultural presence in the origins of Chinese national dance.Xiang Dance was a significant ritual dance during the Zhou Dynasty.Known as Xiang Xiao,the “Xiang” in the Zhou Gong′s meritorious dance,refers to “using Xiao as a ritual”,which points to the “Xiang” in the Yi(I Ching) as an emblem or image.During the Han Dynasty,there was a type of professional performer known as “Xiang Ren,” whose masked performance was associated with funeral rites,similar to the “Xiang Ren” of the “Fang Xiang Shi”.The philosophical underpinnings of Xunzi′s Fei Xiang are embedded in the forms of “figures” and “masks”,and Zhang Heng′s Western Capital Rhapsody refers to “dancing figures”,indicating the overall “dancers”.The term “Xi Xiang Wu Xiang” from the Han Dynasty was derived from the phrase “Xi Chang Wu Xiang”,which originated from “the abandonment of corpse rituals and the rise of symbolic acts”.The connection from “Xiang Ren” to dolls,figurines,and puppets leads to puppet theater,which is clearly far removed from Zhou Gong′s meritorious dance “Xiang” and is also unrelated to XunziConfucian Teachings.The term “Xi Xiang” was evidently evolved from the phrase “Wu Xiang”.