皖北花鼓灯探源

发布时间：2018-03-13 23:01

本文选题：花鼓灯　切入点：安徽北部地区　出处：《安徽师范大学学报(人文社会科学版)》2008年04期 　论文类型：期刊论文

【摘要】：由花鼓小锣、花鼓灯和花鼓戏构成的"凤阳三花",彼此在内容、形式和流行范围,以及百姓的生产、生活中所起的作用等方面大不相同。就其渊源而言,花鼓灯之"打花鼓",主要源于唐宋时期"打夜胡"和"打讶鼓";花鼓灯表演中的岔伞(即灯伞),一则脱胎于明代城隍祭祀衍生出的"三巡会"中的黄罗伞,同时又与讶鼓表演中的帷伞有关;而民间社事活动——社火,则为花鼓灯的表演提供了一个契机,并随着时间的推移,花鼓灯表演逐渐成为上元节等社火的主要形式和内容。在其形成和发展历程中,皖北花鼓灯经历了一个由祈禳、敬神、娱神到娱人、自娱的转变过程,并最终成为皖北民众的"狂欢文化"。
[Abstract]:The "three Flowers of Fengyang", which consists of a small gong, a flower drum lamp, and a flower drum play, are quite different from each other in terms of content, form and popular scope, as well as the production and life of the common people. As far as its origin is concerned, The "playing the flower drum" of the flower drum lamp mainly comes from the Tang and Song dynasties "playing the night Hu" and "playing the amazing drum"; the branch umbrella (that is, the lantern umbrella) in the flower drum lantern show, a yellow umbrella born out of the "three tours" derived from the worship of the City God in the Ming Dynasty, At the same time, it is also related to the curtain and umbrella in the performance of the amazing drum; and the civil society event, the fire of the society, provides an opportunity for the performance of the flower drum lantern, and as time goes on, Flower drum lantern performance has gradually become the main form and content of the society fire, such as the Shangyuan Festival. In its formation and development, the flower drum lamp in Northern Anhui experienced a process of changing from praying, worshiping, amusing God to amusing others and amusing themselves. And finally become the Northern Anhui people's "carnival culture."
【作者单位】：上海交通大学历史系;
【分类号】：J722.212

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