本文選題：藏羌走廊 + 薩朗　； 參考：《西藏大學(xué)》2017年碩士論文

【摘要】：藏羌走廊是藏彝走廊的重要組成部分,是以藏彝走廊的岷江上游區(qū)域?yàn)楹诵�。費(fèi)孝通先生提出的藏彝走廊是一個(gè)歷史區(qū)域的概念,其地理范圍包括四川、西藏東部高山峽谷區(qū)和云南西部的橫斷山脈,這里的民族具有多樣性,分支繁雜,尤其是藏羌走廊。藏羌走廊的概念具有深刻的學(xué)術(shù)內(nèi)涵和文化內(nèi)涵,這為理解和研究地域文化提供了最佳的歷史語(yǔ)境。因?yàn)槠洫?dú)特的高山環(huán)境,藏羌走廊不僅成為歷史文化的沉積帶,還保留了大量的歷史遺跡,文化現(xiàn)象也凸顯了多樣性和同根性,深化了與藏羌?xì)v史相關(guān)的內(nèi)涵。雖藏、羌民族從行政劃分上成為兩個(gè)獨(dú)立的民族,但從民族學(xué)的觀點(diǎn)和傳統(tǒng)民間舞蹈文化的分類(lèi)體系的理念來(lái)研究分析,藏羌文化走廊下的民族民間舞蹈是同根異曲,相互融合的,這是由于歷史積淀所形成的共同的生活習(xí)俗、相近地理環(huán)境,相似民族信仰而形成的,其綻放出來(lái)的絢爛民間舞蹈文化才是它最大的亮點(diǎn)。本文通過(guò)對(duì)費(fèi)先生提出的藏彝走廊概念的基本思路上,以藏羌走廊為區(qū)域的視角下,集中研究以“薩朗”為例的舞蹈文化,因兩個(gè)民族有著深厚的歷史淵源,處在同一個(gè)地域、有著相同的氣候,藏族與羌族在歷史發(fā)展的長(zhǎng)河中締造著同而存異的舞蹈文化。藏羌民族守候著本民族的獨(dú)特文化,同時(shí)締造,生成互相親和、互補(bǔ)的美的舞蹈文化。筆者認(rèn)為以藏羌走廊為區(qū)域劃分來(lái)研究舞蹈文化,能夠體現(xiàn)出尊重歷史、準(zhǔn)確認(rèn)識(shí)現(xiàn)狀、嚴(yán)肅認(rèn)真的學(xué)術(shù)精神,尤其是對(duì)于正確把握當(dāng)下藏族與羌族的互動(dòng)關(guān)系非常重要,不得不說(shuō),藏羌走廊為舞蹈的研究提供了一個(gè)更全面、更客觀的歷史環(huán)境,并運(yùn)用文化長(zhǎng)線的視角來(lái)比較研究民間舞蹈活態(tài)中的共性與個(gè)性,從而闡述筆者對(duì)這一民間舞蹈文化的研究意義。“薩朗”的舞蹈形式是羌族最擅長(zhǎng)的民間自?shī)市晕璧?與羌族人民生存生活、宗教信仰緊密連接在一起,是羌族傳統(tǒng)文化的重要組成部分,也是與藏族傳統(tǒng)民間舞蹈的動(dòng)態(tài)、動(dòng)律最相似的舞蹈,以羌族“薩朗”舞蹈與藏族民間舞蹈中的典型形式以及文化現(xiàn)象進(jìn)行了個(gè)例比較研究,同時(shí)強(qiáng)調(diào)了藏族與羌族在傳統(tǒng)民間舞蹈文化上所呈現(xiàn)出來(lái)的共性特征,這與他們歷史上的族緣關(guān)系是緊密相連的,因此從這兩個(gè)民族的文化、歷史、舞蹈形態(tài)為源頭,研究羌族“薩朗”的起源、形成、舞蹈動(dòng)態(tài)、音樂(lè)節(jié)奏、發(fā)展等,整理出與藏族舞蹈的異曲同根之處,分析比較他們的文化內(nèi)涵和特征,探索羌族“薩朗”舞蹈文化自身的發(fā)展規(guī)律,對(duì)羌族舞蹈文化的重建起著重要作用,這對(duì)民族走廊地區(qū)的研究也是一個(gè)不可缺少的補(bǔ)充。
[Abstract]:Tibetan-Qiang Corridor is an important part of Tibetan-Yi Corridor, which is centered on the upper reaches of Minjiang River in Zang-Yi Corridor. The Tibetan and Yi Corridor proposed by Mr. Fei Xiaotong is a historical region whose geographical range includes Sichuan, the mountains and valleys in eastern Tibet and the Hengduan Mountains in the west of Yunnan. The ethnic groups here are diverse and diverse, especially the Tibetan and Qiang Corridor. The concept of Tibetan and Qiang Corridor has profound academic and cultural connotations, which provides the best historical context for understanding and studying regional culture. Because of its unique alpine environment, the Tibetan and Qiang Corridor not only becomes the sedimentary belt of historical culture, but also retains a large number of historical relics. The cultural phenomenon also highlights the diversity and homogeneity, and deepens the connotation related to the history of Tibetan and Qiang. Although Tibet, the Qiang nationality becomes two independent nationalities from the administrative division, but from the viewpoint of ethnology and the concept of classification system of traditional folk dance culture, the folk dance under Tibetan and Qiang culture corridor is the same and different song. This is due to the historical accumulation of common life customs, similar geographical environment, similar national beliefs and formed, its blooming out of the brilliant folk dance culture is its greatest highlight. On the basis of the concept of Tibetan and Yi Corridor put forward by Mr. Fei, this paper focuses on the dance culture of Sarang as an example from the perspective of Tibetan and Qiang Corridor. Because the two nationalities have deep historical origins, they are located in the same region. With the same climate, the Tibetan and Qiang ethnic groups created the same and different dance culture in the long history of development. Tibetan and Qiang ethnic groups are waiting for their own unique culture, and create mutually friendly and complementary dance culture. The author believes that the study of dance culture based on Tibetan and Qiang Corridor can reflect the respect of history, accurate understanding of the present situation, serious academic spirit, especially for the correct understanding of the current Tibetan and Qiang nationality interaction is very important. It has to be said that the Tibetan and Qiang Corridor provides a more comprehensive and objective historical environment for the study of dance, and uses a long-term cultural perspective to compare and study the commonalities and individuality in the living state of folk dance. In order to explain the author of this folk dance culture research significance. The dance form of "Sarang" is the folk self-entertainment dance of Qiang nationality, which is closely connected with the Qiang people's living life and religious belief. It is an important part of Qiang's traditional culture and also the dynamic of Tibetan traditional folk dance. The most similar dance of the Qiang nationality "Sarang" is compared with the typical forms and cultural phenomena of Tibetan folk dance. At the same time, it emphasizes the common features of the Tibetan and Qiang nationality in the traditional folk dance culture, which is closely related to the ethnic relationship in their history. Therefore, from the source of the culture, history and dance form of these two nationalities, This paper studies the origin, formation, dance dynamics, music rhythm and development of the Qiang nationality "Sarang", sorts out the same roots with the Tibetan dance, and analyzes and compares their cultural connotations and characteristics. Exploring the development law of the Qiang "Sarang" dance culture plays an important role in the reconstruction of the Qiang dance culture, which is also an indispensable supplement to the study of the ethnic corridor area.
【學(xué)位授予單位】：西藏大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J722.21

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