傩舞的形成、傩文化特征与历史价值

发布时间：2018-04-25 01:21

本文选题：傩舞 + 傩文化　；参考：《陕西师范大学》2008年硕士论文

【摘要】： 本文主要以面具舞中的傩舞为研究对象,并对其中的历史、面具和存在状态着重论述,然后将中、日、韩的面具舞进行分类研究、比较。在利用文献资料和考古资料,借助宗教、文学、艺术、哲学等其他学科研究的基础上,结合图片资料,对面具舞的发展做出探讨。傩舞,以驱疫纳吉为主要目的,以粗犷、豪放、热烈的舞步为形式,通过面具的运用表现出来。我经过对三国面具舞的分析对比,反映出日本、韩国在历史上对我国的顶礼膜拜和学习,同时他们世代在传统文化保护方面的高度重视,这就提醒我们在探索的同时,也要引起足够的重视,在今后的发展中做的更好。对以上内容,本论文共分五个部分论述: 第一部分:为绪论部分,本文从面具舞的起源、发展探究中、日、韩面具舞发展和现状,就其选题的理由与意义、目前本课题的研究现状、研究方法及写作思路、研究条件和可能存在的问题及本题目的创新之处和可预期的创造性成果等五部分作了简单介绍,明确了选题依据。第二部分:是论文的第一章,主要对傩文化进行综述,就什么是傩、傩的起源、发展及当时的作用、傩的分类和分布地域进行客观论述。傩的历史分为两个部分,史前至魏晋南北朝为第一部分,之后为第二部分。傩的分类有多种分法,我赞同曲六乙先生的分法,将中国的傩主要分为民间傩、宫廷傩、军傩和寺院傩。傩的分布十分广泛,在全国的许多地区都有傩戏圈,一般都是在经济比较落后的地区,以家庭或宗族为单位的经济和社会活动,导致他们经济活动的盲目性和个人命运的不可预测行,为傩提供了较大的发展空间。第三部分:是论文的第二章,就傩文化进行更详实的阐述。此章共分四节论述,第一节论述了傩面具,面具是傩戏最典型的特色,我分别从傩面具的发展变化、造型、色彩方面论述,将其放在第一节足见它的重要性。接着几节分别从傩经历的发展轨迹,傩仪、傩舞、傩戏来进行论述了。我分别就其产生、发展状况和表现形态做出客观描述。傩舞也是本章的重点,在傩剧的表演中,傩舞是主要的表现形式,俗话说“无仪不起舞,无舞不成仪”,舞是整个表演的关键所在。第四部分:是论文的第三章,“中国及周边国家面具舞分析”。在历史的长河之中,面具舞东渐,流传到了韩国、日本,对当地形成深远的影响,他们将其接纳、吸收,并与自己的文化融合,形态发生变化,形成了自成一体的文化,保存起来,世代相沿,传承不惜。在此章里,我分别就三国的面具舞情况进行介绍,从它们的起源、发展、代表性舞蹈、表演的具体形式出发,然后将三国的面具舞从几方面比较:面具、表演场所、舞蹈动作、剧目,突出其自身的特点。第五部分:是论文的第四章,“傩舞和面具舞发展”。在这一章里,就其发展现状、保护方法和保护意义进行论述。在不同国家由于种种因素,面具舞的保存现状有所不同。韩国、日本通过民间和国家的双重保护下,建立一系列的政策法规和加强了本民族的文化意识,在这一方面有很多值得我们学习和借鉴的地方,在此基础上引起人们的足够重视,达到本文对保护传统文化方面的目的。
[Abstract]:This article mainly focuses on the exorcise dance in mask dance, and focuses on its history, mask and state of existence, and then classifies and compares the masks and dances of China, Japan and Korea. On the basis of the use of literature and archaeological materials and the help of other subjects such as religion, literature, art and philosophy, the mask is combined with the picture material. The development of the dance is discussed. The Nuo dance is the main purpose of the exorcism, with the form of rough, unconstrained, and enthusiastic dance as the form, and through the use of masks. Through the analysis and comparison of the masks and dances of the Three Kingdoms, I have reflected that Japan and Korea have worshiped and studied our country in history, and they have been in the protection of traditional culture for generations. Attach great importance to it, which reminds us that we should pay enough attention to the exploration and do better in the future development. For the above content, this thesis is divided into five parts:
The first part: for the introduction part, this article from the origin of the mask dance, the development of the exploration, the Japanese and the Korean masks dance development and the present situation, on the reasons and significance of the topic, the present research status of this topic, the research methods and writing ideas, the research conditions and possible problems, the innovation of this topic and the expected creative achievements, and so on five parts. A brief introduction is made and the basis of the topic is clarified.
The second part: the first chapter of the paper, mainly to the exorcise culture, the origin of Nuo, exorcise, the development and the role of the time, the classification and distribution of exorcise in an objective discussion. The history of Nuo is divided into two parts, from the prehistoric to the Wei, Jin, and the northern and Southern Dynasties as the first part, and then the second part. The division of Mr. six is mainly divided into folk Nuo, imperial exorcise, imperial exorcise and monastery Nuo. Exorcise is widely distributed in many areas of the country, and the Nuo opera circle in many areas of the country is generally in economic and social activities in the backward areas of the economy, with family or clan as units, leading to the blindness and personal fate of their economic activities. The unpredictable line provides great room for Nuo development.
The third part: the second chapter of the paper, the exorcise culture more detailed exposition. This chapter is divided into four sections, the first section discusses the Nuo mask, the mask is the most typical feature of the Nuo opera, I respectively from the exorcise mask development, modeling, color, and put it in the first section to see its importance. Then several sections from Nuo experience respectively The development track, exorcise, Nuo dance and Nuo opera are discussed. I make an objective description of its production, development and expression. Exorcise is also the focus of this chapter. In the performance of the Nuo opera, Nuo dance is the main form of expression, the common saying is "no dance, no dance, no dance, no instrument", and the dance is the key to the whole performance.
The fourth part: the third chapter of the paper, "the analysis of masks dance in China and the surrounding countries". In the long history of history, masks dance eastward to the South Korea and Japan, which has a profound influence on the local. They accept, absorb, and change with their own culture, form a form of self-contained culture, preserve, and generation. In this chapter, I introduce the mask dance of the three countries, from their origin, development, representative dance, and the specific form of performance, and then compare the masks of the three countries from several aspects: masks, performing places, dance movements, plays, and highlighting their own characteristics.
The fifth part: the fourth chapter of the paper, "the development of Nuo dance and mask dance". In this chapter, the status of its development, the protection method and the protection significance are discussed. In different countries, because of various factors, the status of the mask dance is different. The cultural consciousness of the nation has been strengthened. In this respect, there are a lot of places to learn and learn from. On this basis, people should pay enough attention to the purpose of this article to protect the traditional culture.

【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J722.2

【引证文献】