乐亭皮影的佛教因素探究
发布时间:2018-08-30 08:19
【摘要】:乐亭皮影戏作为我国冀东民俗文化的代表备受文化界关注,被当今世界公认为“电影鼻祖”。在一千五百多年的历史长河中,以其丰富的文化内涵充分显示出了冀东人民对于音乐、美术、雕刻等艺术形式的创新能力、文化思维和审美意向。 对于皮影这种民间文化,在有关它的起源、发展、演变、制作、工艺、唱腔、造型等多方面已经有许多系统的研究成果。而笔者通过细致分析,发现皮影的诸多方面都与佛教有着许多联系,且对于皮影中的佛教还没有较为系统的理论总结。因此,本文通过探究乐亭皮影在中国影戏中的地位、发展概况及佛教在唐山的传播概况和传播形式来追溯皮影与佛教的关联;通过梳理皮影造型、表演、剧目中的佛教渊源来概括皮影艺术中的佛教因素;通过分析皮影戏发展过程中佛教因素的淡化与民族性的增强来揭示皮影带给我们的文化启示,强调增强民俗性与民族性对于民间艺术的重要作用。 笔者认为,这样的研究,不仅对于民间文化来说是一件值得用心去做的大事,对于各个门类的传统文化来说,也是具有一定的牵连作用的,厘清文化渊源,才能懂得过去,从而才能更好地把握文化发展的方向,为其明天做出合理的规划。
[Abstract]:As the representative of Jidong folk culture in China, Leting Shadow Drama has attracted much attention from the cultural circles, and is recognized as "the originator of the film" in the world today. In the history of more than 1500 years, with its rich cultural connotation, Jidong people's creative ability, cultural thinking and aesthetic intention for music, fine arts, sculpture and other art forms have been fully demonstrated. There have been many systematic research results on the origin, development, evolution, production, craft, singing, modeling and so on of shadow as a folk culture. Through careful analysis, the author finds that many aspects of shadow have a lot of links with Buddhism, and there is no systematic theoretical summary of Buddhism in shadow. Therefore, this paper tries to trace back the relationship between shadow and Buddhism by exploring the position, development and spread of Buddhism in Tangshan, combing the shape of shadow, performing, and so on. The Buddhist origin in the repertoire is used to summarize the Buddhist factors in shadow art, and by analyzing the dilution of Buddhist factors and the enhancement of nationality in the development of shadow play, the cultural enlightenment brought by shadow play is revealed. Emphasis on the enhancement of folklore and nationality for the important role of folk art. The author believes that such a study is not only a major event worth doing carefully for folk culture, but also has certain implications for the traditional culture of various categories. Only by clarifying the cultural origins can we understand the past. In order to better grasp the direction of cultural development and make a reasonable plan for its tomorrow.
【学位授予单位】:河北大学
【学位级别】:硕士
【学位授予年份】:2009
【分类号】:J827
本文编号:2212514
[Abstract]:As the representative of Jidong folk culture in China, Leting Shadow Drama has attracted much attention from the cultural circles, and is recognized as "the originator of the film" in the world today. In the history of more than 1500 years, with its rich cultural connotation, Jidong people's creative ability, cultural thinking and aesthetic intention for music, fine arts, sculpture and other art forms have been fully demonstrated. There have been many systematic research results on the origin, development, evolution, production, craft, singing, modeling and so on of shadow as a folk culture. Through careful analysis, the author finds that many aspects of shadow have a lot of links with Buddhism, and there is no systematic theoretical summary of Buddhism in shadow. Therefore, this paper tries to trace back the relationship between shadow and Buddhism by exploring the position, development and spread of Buddhism in Tangshan, combing the shape of shadow, performing, and so on. The Buddhist origin in the repertoire is used to summarize the Buddhist factors in shadow art, and by analyzing the dilution of Buddhist factors and the enhancement of nationality in the development of shadow play, the cultural enlightenment brought by shadow play is revealed. Emphasis on the enhancement of folklore and nationality for the important role of folk art. The author believes that such a study is not only a major event worth doing carefully for folk culture, but also has certain implications for the traditional culture of various categories. Only by clarifying the cultural origins can we understand the past. In order to better grasp the direction of cultural development and make a reasonable plan for its tomorrow.
【学位授予单位】:河北大学
【学位级别】:硕士
【学位授予年份】:2009
【分类号】:J827
【参考文献】
相关期刊论文 前10条
1 张军;;中国皮影的艺术观照与历史流变 读魏力群《中国皮影艺术史》[J];博览群书;2007年10期
2 刘宏芹;唐山皮影包装设计与品牌塑造[J];包装工程;2004年02期
3 常兰荣;我们收集戏曲(曲艺)档案的几点做法[J];档案天地;2003年05期
4 韩溪;门当户对说《人影》[J];大舞台;2002年06期
5 赵惠芬;;皮影艺术的现代风采——“冀东油田杯”2005中国唐山国际皮影艺术展演述评[J];大舞台;2005年06期
6 韩溪;;与时俱进的唐山皮影[J];大舞台;2005年06期
7 杨立元;袁宁;;《俏夕阳》的美学追求[J];大舞台;2006年03期
8 陈说;;皮影表演空间的拓展——简评皮影剧《观世音传奇》[J];大舞台;2006年06期
9 佟欣;;半生皮影情——魏力群教授的皮影艺术保护之路[J];中国发明与专利;2006年08期
10 魏力群;;三冀皮影[J];河北画报;2007年04期
,本文编号:2212514
本文链接:https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2212514.html