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本文对塔尔寺正月金刚法舞的渊源予以考证,对法舞的角色以及他们的形象、装扮、舞蹈动作有较为系统的论述,揭示了法舞每一场次表演的象征意义。经过比较,认为塔尔寺的具誓法王舞无“打鬼”等部分,属于较为简化的仪式。指出法舞表演的功用之一就是向信徒展示神灵的形象,供人们瞻仰、供奉和记忆。论文对舞者和观者的关系作了分析,认为双方共有的文化背景构成了法舞的文化生态。但是随着社会的变迁和世俗化的加剧,塔尔寺法舞表演的文化生态正在发生变化,法舞原有的神圣性趋于减弱。
This article studies the origins of the Kham-pa-kha Dance of the Thar Monastery and discusses the role of the Fa-dance and their images, dress-up and dance movements systematically, revealing the symbolic significance of each performance of the Fa-dance. After comparison, it is considered that there is a vow of the Kumbum Monastery in Kumbum Monastery, a part of the more simplified ritual. It is pointed out that one of the functions of the Fa dance performances is to show the devotees the image of the gods for people to look back, worship and remember. The dissertation analyzes the relationship between dancers and spectators, and holds that the cultural backgrounds shared by both parties constitute the cultural ecology of Fa-Wu. However, with the social changes and the increase of secularization, the cultural ecology of the Tal dance performance is changing. The sacred nature of the Fa dance tends to weaken.