汉中勉县社火

发布时间：2018-05-27 01:34

本文选题：龙文化 + 龙舞运动　；参考：《陕西师范大学》2011年硕士论文

【摘要】：龙是中国古人对蛇、鳄、鱼、蜥蜴、鲵、猪、马、牛、鹿、虎、熊等动物,和雷电、云、虹霓、龙卷风、星宿等自然天象多元融合而产生的一种神物。在诸多的中国文化古籍和古老民间传说中,对龙图腾及其历史文化意义都有极完整且丰富的阐释。《周易》中的乾卦,其卦文均以龙为象征：“潜龙,勿用”；“见龙在田,利见大人”；“见群龙无首,吉”等,显然龙成了中华民族的象征。由于龙所具有这种特殊的文化地位和深厚的人文情怀,借“龙”为载体的种种民俗活动亦由此产生。据史书记载,舞龙习俗最早兴于汉代,《后汉书·礼仪志》中,记载着人们在举行祈雨祭祀仪式时,人们穿着各色彩衣,舞起长达数丈的青、黄、赤、黑等各色大龙的壮观场景。而张衡在《西京赋》里更是生动描绘了“百戏”中的龙舞：“海鳞变而成龙,状蜿蜿以温温”。从众多的古籍中观之,我们不难发现龙舞是在龙文化的基础上诞生的一种运动,由早期民间的祭祀、求雨、巫术等形式逐步发展成具有民族特色的民间传统活动。勉县位于陕西西南部,汉中盆地西缘,北依秦岭、巴山,南邻四川盆地。由于深受川蜀乐舞文化的熏陶,当地民间歌舞形式颇丰,尤以“龙舞”表演最为引人入胜。20世纪40年代,为庆祝川陕公路通车,当地群众操起“五节龙”舞了三天三夜,后在新铺乡群众不断的编排和创新下,形成了现今特有的表现形式和风格特征。本文以勉县“五节龙”作为研究对象,通过对其舞蹈本体的系统研究以探求勉县“五节龙”深厚的文化底蕴,同时有针对性的对各地龙舞作逐一分析、比较,使更多学者加入到保护非物质文化遗产的行动中,以保存人类珍贵的文化艺术。文章内容共分为四部分。第一部分：主要是采用文献学的有关资料,从龙文化入手,阐明“龙”作为中华民族的图腾,其定位、精神、意象何在,在中国这个典型农耕文化的基础下,以龙为外化象征,使得龙舞成为民族祈求风调雨顺、五谷丰登的主要表现形式之一。第二部分：主要对各地有代表性的龙舞运动进行剖析、比较,研究其表现风格、特征及内在的民俗文化底蕴。第三部分：主要是对勉县“五节龙”的舞蹈本体进行研究。分析勉县“五节龙”生由的地域环境、历史演变、表演内容与形式、艺术特征等,列举出与“五节龙”有可比性的其他龙舞作一对比研究。第四部分：由于勉县“五节龙”已被列入第二批陕西省非物质文化遗产保护名录,而目前正在申请国家级非物质文化遗产项目,其保护价值不言而喻。本部分主要是通过实地调查研究,了解勉县“五节龙”的发展现状和保护措施,并在其基础上,阐述对勉县“五节龙”未来发展的新思路。
[Abstract]:The dragon is a kind of god produced by the ancient Chinese mergence of snakes, alligators, fish, lizards, salamanders, pigs, horses, cattle, deer, tigers, bears, and other natural phenomena such as lightning, clouds, rainbow, tornadoes, stars and so on. In many ancient Chinese cultural books and ancient folklore, there is an extremely complete and rich explanation of the dragon totem and its historical and cultural significance. "to see the adults"; "to see the dragon without a leader," and so on, it is clear that the dragon has become the symbol of the Chinese nation. Because of its special cultural status and profound humanistic feelings, various folklore activities with dragon as its carrier also emerged. According to the historical records, the custom of dragon dance was first found in the Han Dynasty. In the Book of Etiquette of the later Han Dynasty, it was recorded that when people held the ritual of praying for rain, people wore all kinds of colorful clothes and danced the spectacular scenes of the dragon of various colors, such as green, yellow, red, black and so on. In Xijing Fu, Zhang Heng vividly depicts the dragon dance in "hundred Drama": "the sea scales change to Jackie Chan, the shape is wound to warm." From the view of many ancient books, it is not difficult to find that dragon dance is a kind of movement born on the basis of dragon culture, which gradually developed from the early folk forms of sacrifice, rain and witchcraft into folk traditional activities with national characteristics. Mian County is located in southwest Shaanxi, west margin of Hanzhong Basin, north of Qinling Mountains, Bashan, south of Sichuan Basin. Deeply influenced by Sichuan and Sichuan music and dance culture, the local folk songs and dances are abundant, especially the "Dragon Dance" performance. In the 1940s, in order to celebrate the opening of the Sichuan-Shaanxi Highway, the local people held the "five Festival Dragon" dance for three days and three nights. In Xinpu township after the continuous layout and innovation, formed a unique form of expression and style. This paper takes "five Dragon" in Mian County as the object of study, through the systematic study of its dance ontology, to explore the profound cultural background of "Wujie Dragon" in Mian County, and at the same time, to analyze and compare the dragon dance in different places one by one. Let more scholars join in the action of protecting intangible cultural heritage to preserve the precious culture and art of mankind. The article is divided into four parts. The first part is mainly using the relevant materials of philology, starting from the dragon culture, expounding the "dragon" as the totem of the Chinese nation, its position, spirit and image, and taking the dragon as the symbol of externalization on the basis of the typical agricultural culture of China. The dragon dance has become one of the main forms of national pleading for good weather and good grain. The second part: mainly analyzes and compares the representative dragon dance movement in various places, studies its performance style, characteristic and intrinsic folklore culture inside information. The third part: mainly studies the dance Noumenon of "five Dragon" in Mian County. This paper analyzes on the regional environment, historical evolution, performance content and form, artistic characteristics of the origin of "five Dragon" in Mian County, and lists other dragon dances comparable to "five Dragon" to make a comparative study. The fourth part: because "Wujie Dragon" of Mian County has been listed in the second batch of intangible cultural heritage protection list of Shaanxi Province, but it is applying for the national intangible cultural heritage project at present, its conservation value is self-evident. This part is mainly through field investigation and research to understand the development status and protection measures of "Wujie Dragon" in Mian County, and on the basis of it, to expound the new ideas for the future development of "Wujie Dragon" in Mian County.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J722.2

【参考文献】