摘要
土家族茅古斯舞,同时被我国舞蹈界和戏剧界专家认定为中国舞蹈、戏剧的最远源头和活化石。从其服饰、道具到其表演形式、表演内容,茅古斯真实地反映了父系社会初期至五代时期土家人的渔猎、农耕生产生活及婚姻习俗状况。解读其表象背后蕴含的自然、图腾、祖神、生殖崇拜等上古时期遗存的宗教信仰符号及美学意蕴,有助于我们更好地了解这一承载厚重的艺术形式的深层内涵。
The Tujia Mao gus dance,which were recognized as also the Chinese dance and drama＇s farthest source and living fossil by the Chinese Dance and Drama professionals.From the finery,properties to the form and the content of it＇s performance,it truly reflects the Tujia people＇s production and life style and the marriage customs situation of hunting and fishing to farming from the patriarchal society to Wudai Dynasty.Interprets it＇s intrinsic religious beliefs symbol such as natural worship,totem worship,ancestor worship and generative adoration of ancient world and the aesthetic implication of Mao gus dance,can help us deeply understanding this bearing heavy art form＇s deep connotation.
出处
《四川体育科学》
2011年第1期20-23,共4页
Sichuan Sports Science
基金
重庆市教育科学"十一五"规划2010年高校重点课题。项目编号:10-GJ-1401
关键词
土家族
茅古斯舞
原始崇拜意识
美学特质
Tujia
Mao gus dance
Primitive worship
Aesthetic characteristics
