本文選題：龍文化 + 龍舞運動　； 參考：《陜西師范大學(xué)》2011年碩士論文

【摘要】：龍是中國古人對蛇、鱷、魚、蜥蜴、鯢、豬、馬、牛、鹿、虎、熊等動物,和雷電、云、虹霓、龍卷風(fēng)、星宿等自然天象多元融合而產(chǎn)生的一種神物。在諸多的中國文化古籍和古老民間傳說中,對龍圖騰及其歷史文化意義都有極完整且豐富的闡釋�！吨芤住分械那�,其卦文均以龍為象征：“潛龍,勿用”；“見龍在田,利見大人”；“見群龍無首,吉”等,顯然龍成了中華民族的象征。由于龍所具有這種特殊的文化地位和深厚的人文情懷,借“龍”為載體的種種民俗活動亦由此產(chǎn)生。據(jù)史書記載,舞龍習(xí)俗最早興于漢代,《后漢書·禮儀志》中,記載著人們在舉行祈雨祭祀儀式時,人們穿著各色彩衣,舞起長達數(shù)丈的青、黃、赤、黑等各色大龍的壯觀場景。而張衡在《西京賦》里更是生動描繪了“百戲”中的龍舞：“海鱗變而成龍,狀蜿蜿以溫溫”。從眾多的古籍中觀之,我們不難發(fā)現(xiàn)龍舞是在龍文化的基礎(chǔ)上誕生的一種運動,由早期民間的祭祀、求雨、巫術(shù)等形式逐步發(fā)展成具有民族特色的民間傳統(tǒng)活動。 勉縣位于陜西西南部,漢中盆地西緣,北依秦嶺、巴山,南鄰四川盆地。由于深受川蜀樂舞文化的熏陶,當(dāng)?shù)孛耖g歌舞形式頗豐,尤以“龍舞”表演最為引人入勝。20世紀40年代,為慶祝川陜公路通車,當(dāng)?shù)厝罕姴倨稹拔骞?jié)龍”舞了三天三夜,后在新鋪鄉(xiāng)群眾不斷的編排和創(chuàng)新下,形成了現(xiàn)今特有的表現(xiàn)形式和風(fēng)格特征。 本文以勉縣“五節(jié)龍”作為研究對象,通過對其舞蹈本體的系統(tǒng)研究以探求勉縣“五節(jié)龍”深厚的文化底蘊,同時有針對性的對各地龍舞作逐一分析、比較,使更多學(xué)者加入到保護非物質(zhì)文化遺產(chǎn)的行動中,以保存人類珍貴的文化藝術(shù)。文章內(nèi)容共分為四部分。 第一部分：主要是采用文獻學(xué)的有關(guān)資料,從龍文化入手,闡明“龍”作為中華民族的圖騰,其定位、精神、意象何在,在中國這個典型農(nóng)耕文化的基礎(chǔ)下,以龍為外化象征,使得龍舞成為民族祈求風(fēng)調(diào)雨順、五谷豐登的主要表現(xiàn)形式之一。 第二部分：主要對各地有代表性的龍舞運動進行剖析、比較,研究其表現(xiàn)風(fēng)格、特征及內(nèi)在的民俗文化底蘊。 第三部分：主要是對勉縣“五節(jié)龍”的舞蹈本體進行研究。分析勉縣“五節(jié)龍”生由的地域環(huán)境、歷史演變、表演內(nèi)容與形式、藝術(shù)特征等,列舉出與“五節(jié)龍”有可比性的其他龍舞作一對比研究。 第四部分：由于勉縣“五節(jié)龍”已被列入第二批陜西省非物質(zhì)文化遺產(chǎn)保護名錄,而目前正在申請國家級非物質(zhì)文化遺產(chǎn)項目,其保護價值不言而喻。本部分主要是通過實地調(diào)查研究,了解勉縣“五節(jié)龍”的發(fā)展現(xiàn)狀和保護措施,并在其基礎(chǔ)上,闡述對勉縣“五節(jié)龍”未來發(fā)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.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J722.2

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