摘要
龟兹石窟是中国四大石窟寺之一;是丝绸之路上我国境内建造最早的大型石窟群,其间保留着丰富的壁画资料,有关乐舞内容的,几乎占据所有壁画的一半之多,从而印证了乐舞在当时、当地人们生活中的地位。龟兹学研究者用“丹青斑驳”一词形容历史遗存的光辉已毋庸置疑、层见迭出。《舞春风》本为历史中龟兹地区一首体现民族交往交流交融的经典音乐作品遗存,此处假借曲名以“舞”为切入点探寻龟兹历史文物与现时当地民族舞蹈风格之关系。“春风”意为新时代社会主义核心价值观引领和新时代民族团结思想内涵之春风。本文以“撼首弄目与抃指”为历史印记板块;以“折腰蹉步与跷足”为交融呼应板块;以“两情相望铸共荣”为文化赓续之思考板块,以“手”“足”“情深”三部分为“手足情深”事实,不断夯实铸牢中华民族共同体意识。
the QIUCI grottoes are one of the four grottoes temples in China and the earliest grottoes group built in China along the Silk Road,almost half of all the frescos,thereby confirming the status of music and dance in the life of local people at that time.The researcher of the study of Qiu ci uses the word“Mottled”to describe the brilliance of the historical relics.“Dancing in the Spring Breeze”is the remains of a classical music work which embodies the communication and integration of ethnic groups in the Qiuci region in history.Here,under the name of“Dance”,we explore the relationship between the historical relics of Kucha and the local folk dance style.“Spring Breeze”means the spring breeze of the new era leading by the core values of socialism and the connotation of the thought of national unity.The article regards“Shaking head and showing eyes and pointing fingers”as the plate of historical imprint,“Bending waist and stepping on foot”as the plate of integration and echo,and“Two emotions facing each other to create common prosperity”as the plate of continuous thinking of culture,with“Hand”“Foot”“Deep love”three parts for“Brotherhood deep”facts constantly solidify the sense of community of the Chinese nation.
作者
滕莹
闫蓝
Teng Ying;Yan Lan(Xinjiang Normal University,Urumqi,Xinjiang 830012)
出处
《中国舞蹈学》
2023年第1期180-195,353,354,共18页
CHOREOLOGY IN CHINA
基金
2021年度教育部人文社会科学规划项目“中国古代丝绸之路新疆段石窟伎乐壁画的仪轨研究”(项目编号:21XJJA760001)的阶段性成果
2023年度新疆师范大学优秀青年教师科研启动基金项目“龟兹题材舞台艺术的中国式现代化文化路径研究”(项目编号:XJNU202208)的阶段性成果。
关键词
龟兹石窟壁画
舞蹈形态
历史与现实
Frescos in QIUCI grottoes
Dance form
History and reality
