从民间艺术到文化遗产

【作者】 崔鸿飞；

【导师】 潘守永；

【作者基本信息】 中央民族大学 ， 人类学， 2011， 博士

【摘要】 秀山花灯“南路花灯”的一支,流行于重庆市秀山土家族苗族自治县境内,是集宗教、民俗、歌舞、戏剧、杂技、纸扎艺术为一体的民间文化。多年来,以其独特的地域性、艺术性成为我国花灯艺术中不可或缺的一个流派。2006年5月被列入国家第一批非物质文化遗产保护名录民俗类。立足当代中国实践,传承优秀民族文化,提高文化产品质量,推进文化创新,是“十二·五”时期推动文化大发展大繁荣,提升国家文化软实力,要求重点抓好的工作。保护和利用好非物质文化遗产,对于继承和发扬民族优秀文化传统、增进民族团结和维护国家统一、增强民族自信心和凝聚力、促进社会主义精神文明建设,都具有重要而深远的意义。本文是对秀山花灯的人类学考察,兼顾历时性和共时性两个视角。一方面对其源起、成因及当代流变过程等的考察,即历时性(synchronic)研究,揭示秀山花灯发生、发展和变化过程及其与“外部场域”的互动；另一方面对其“不变”的仪式、音乐形式、舞蹈形式以及本地人的“态度”等等这些物质的以及非物质的“遗产”形态在当下的展演(cultural representation)的考察,即共时性(diachronic)研究,揭示从民间艺术到非物质文化遗产这个“外部场域”转换后,秀山花灯的“意义’是否因之转变。本文既有丰富的民族志论述,也有一定理论的思索和感悟。以往有关民间艺术的研究强调现象、形式与本质的二分,人类学视角则强调整体性观察和联系的观点,强调借助田野研究方法回归“本地人观点”(the native point of view)。因此,本文的三个重点是：一、描述秀山花灯繁荣景象,形成参照系。民间艺术是历史和社会的产物,形成和繁荣是一个时代的写照。对民间花灯的历史及现状的整体考察,从起源多说到区域分布；从“同宗同族”到多流派形成；从客观需要到表达愿望；从平面的远离“中心”到空间动态的静止；从固定的花灯班到他们的空间平行状态,形成点对点、面对面、簇对簇、区域对区域、空间对空间的两个对象之间平行的相互联结而又相互作用的空间互动变化的空间观察,等等,实现对花灯的准确描述。“远离中心”、“生产力落后”形成“静态”花灯班；“需求”和“表达愿望”是花灯传延的根基,局部的“静止”还是不能掩盖整体的活跃,这就是秀山花灯繁荣时的“镜像”,是本研究得以持续的参照系。二、走进“民间艺术”本体。把跳花灯的整个过程分成内在表现和外在表现两个部分,以崭新的视角观察秀山花灯内在本质和外在表现。内在表现就是仪式,是秀山花灯的“灵魂”,音乐歌舞就是外在表现。展示不变的仪式,阐释仪式的隐喻和功能,揭示人们对于仪式的依赖和仪式作为宗教的核心的本质是能“满足”人们的“需求”。正是仪式能表达了人们的“愿望”,才使跳花灯延续长久。对音乐和舞蹈进行本体分析,揭示其与仪式的关系,作为外在表现,其与仪式是一体的,不可分割的。表演、造型、装扮等具有强烈的象征意义。音乐的调式、音程、旋律、节奏等既有审美的意义,也反映了人们意识深处的观念和习惯。舞蹈的形式、动态表现,也和音乐一样既有审美需求,也是意义表达。三、实现“过去的重建”。遗产价值的核心是原真性(本真性)和完整性,历时性陈述与复述,是从“民间艺术”转身到“非物质文化遗产”的关键,因此过去重建的当下意义首先是“外部场景”变化的反映,实际上任何“过去”都无法完整“重现”。“重建”中如何表达“本地观点”,如何利用历史“黏合剂”,本文用两章的篇幅来讨论这个转变。由于民间的花灯班记忆几乎不能重现,因而采用印证的办法来实现。考察“最大花灯班”50年的变化过程,印证民间花灯班的状态,反映秀山花灯的整体变化。让“花灯人”作为“人证”,实现对“记忆”的补充,重构时代记忆。民歌《黄杨扁担》之争,即是历史重建过程中的大事件,其背后则是“文化资本”的逻辑表现。“民间艺术”的开放性与“文化资源”排他性,在当下如此吊诡地并置,“艺术”正在逐渐被改造为政治经济意义的“遗产”本文最后的结语只是要表达研究者观察后的一些感悟,艺术和文化亦然成为市场角逐的目标,文化自觉也未见是一剂良方。更多还原

【Abstract】 Xiushan Festive Lanterns, which prevail in Chongqing Tujia and Miao-minorities Autonomous County, turn into a branch of Southern Festive Lanterns. Besides, it is also a folk cultural integration of religion, folk custom, song and dance, drama, acrobatics and paper-binding arts. For many years, it has gradually turned into an indispensable branch of China’s Festive Lantern Art, resulting from its uniquely regional and artistic characters. In May,2006, it was firstly enrolled on the protection catalogue of China’s Intangible Cultural Heritage as a folk custom item. Actually, it bases itself in contemporary practice, aiming to inherit and spread the superior national culture, to improve the quality of cultural products, and, to promote the cultural innovation, which are major tasks for the twelfth five -year plan. Moreover, special attention should be paid to promote cultural development and prosperity, strengthening its flexibility. Furthermore, conserving and making full use of the intangible cultural heritage also exert a profound influence on inheriting and promoting the essence of culture, enhancing the unity of nations and country, boosting the national confidence and cohesion, and advancing the spiritual civilization construction.This paper presents an anthropological survey of Xiushan Festive Lanterns in both synchronic and diachronic perspectives. It makes an observation on the origin, formative causes and the contemporary evolutional process of Xiushan Festive Lanterns, which is called academically synchronic research, intended to disclose its occurrence, development, changing process and the interaction with outer space context. And on the other hand, it also makes an inspection on the current cultural representation of such various substantial and intangible heritage as the fixed rites, music forms, dance forms and the attitudes of local people, which is called diachronic research, displaying whether the significance of Xiushan Festive Lanterns have changed correspondingly after the transformation of folk art into the intangible heritage. This dissertation has a profound argumentation as well as theoretical thoughts and more comprehension.The previous research of folk art stressed the dichotomy of phenomena, forms and essence, whereas, anthropology persists the integral observation and connection, focusing on returning to the native point of view by means of field working research methods. The three main points in this paper are as follows:1、Description of the prosperous scene of Lanterns, establishing the frame of reference.Folk art is a product of history and society. Its existence and prosperity work as a true reflection of this era. For the sake of describing the general state, we had better start with the research on the folk lantern teams. Besides that, Theory of Space can be applied to make the space observation possible. This ranges from the original theory to regional distribution, from the same blood kin to the formation of multiple branches, from objective necessity to subjective desire; from single-dimensional motion to multi-dimensional immobility; from stationary teams to spatially parallel conditions. To accomplish the accurate description, we have to finish the space observation in a point-to-point, face-to-face, cluster-to-cluster, region-to-region, space-to-space way. Besides, the observation requires a connective and functional variations. In this paper, I have quoted Marx’s relevant views about the national "intercourse" and uncover that it is the productivity that confines "intercourse" of lantern’s team. Furthermore, judging from the consequences of calculating the figure of the passengers per year, I obtained the distribution feature of "being far from centre"; by calculating workdays and comparing them with the national average number, I conclude that they have got backward productivity. "Being far from centre" and "backward productivity" constitute a "motionless" lantern team. However, because "necessity" and "voicing their desire" are the foundation for Xiushan Festive Lanterns’ continuous existence, overall activities cannot be covered by partial "motionless". All in all, that is the reflection of the prosperity of festive lanterns, which acts as the frame of reference to sustain my research.2、Stepping into the folk art ontologyThe whole procedural presentation of festive lantern performing can be divided into two parts, the inner essence and outward performance. I observe this in a broad new perspective. The inner manifestation can be regarded as its rites, which make up the "soul" of Xiushan Festive Lanterns, while singing and dancing is its outward performance. I demonstrate the fixed rite and interpret its metaphor and functions. As a consequence, I reveal the fact that the individuals rely heavily on the rites. And the rituals or ceremonies play a significant role in religion for it can meet their needs. Since the ceremony can express people’s wishes, it eventually become the soul of lantern dancing, because of which it can subsist for long. This article analyzes its music and dance and exposes its relationship with rites. Song and Dance, as the outward expression of the ceremony, is a crucial part. It shows individuals’ enthusiasm and makes sense through exhibition, make-up and so on.Its music mode, pitch, melody, rhythms, etc. are aesthetically significant, reflecting the conceptions and customs in deep consciousness of people. The dancing form and its dynamic display contain the aesthetic pursuit as music itself, and simultaneously, are expressions of meanings.3、"Reconstruction" of the pastThe core of the value of the heritage is its original state and integrity. The diachronic statement and repetition are the key for folk art to transform itself into the intangible heritage, so the current significance of the reconstruction of the past is firstly a reflection of the change of outer scene, and in fact, we cannot enable "yesterday once more". How the local point of view could be expressed in the reconstruction? and how the historical binder could be used? Two chapters are designed to discuss about the changes in them. To make the memory of folk festive lantern troupes, the corroborative methods are to be adopted. This dissertation does a survey on the evolutional process of 50 years of the biggest festive lantern troupe, confirming the status of folk troupes, and reflecting the integral changes of Xiushan Festive Lanterns. It needs the lantern artists to be historical witnesses, so as to add the memorial supplementation and reconstruct the epoch memory.The competition for the possession of the folk song Boxwood Shoulder Pole was a big event in the historical reconstruction, behind which was a logic performance of cultural capital. The openness of folk art and the exclusive nature of cultural resources are now slyly juxtaposed, manifesting that art is being transferred into a legacy with political and economical connotations.The conclusion of this paper is just to show some new comprehension after the observation, that is, art and culture have become the goals of marketing competition, and the cultural self-consciousness is, perhaps, not a good prescription.更多还原