【作者】 田荣军；

【导师】 程征；

【作者基本信息】 西安美术学院 ， 美术学， 2008， 博士

【摘要】 “社火”是中国农村社会在农历春节或庙会期间,农民以村、社为单位自发组织起来的,兼有迎春、祭神、驱疫和狂欢意义的大型文艺游演活动。这一古老的民间风俗,是伴随着数千年来中华农耕文明的兴盛而发展成熟的。中国西北部的社火文化积淀极为丰厚,是我们研究中国社火文化必须重点关注的区域。本文分为上下篇。上篇采用人类学田野考察方法,对陕西关中地区的社火活动进行了较为全面地调查,特别是对历史文化积淀特别深厚的陕西周原地区的典型村落——宝鸡县天王镇诸村的社火活动进行了较为系统地调查。调查内容涉到及当地民众浓烈的社火参与热情,当地社火的发展历史与现状、组织管理、策划谋略、专职艺人、表演内容、程序、时间和路线,以及社火的的化妆、脸谱、服装、道具、音乐、财务制度等诸多方面。下篇则借鉴了美术学、民俗学、历史学、社会学的相关研究成果,运用多学科交叉研究的方法,对社火脸谱、社火的综合文化内涵进行了探讨,其中将社火脸谱作为重点进行研究,以突出美术学的研究特色。本文期望通过对典型地区典型社火个案的研究,以作为认识中国社火文化的一个切片。在社火的诸多文化要素中,社火脸谱是美术学研究的重点对象,也是本文的研究重心之一。本文探讨了社火脸谱的历史源流、图式结构和色彩的象征寓意等方面。社火脸谱是中国脸谱文化的重要组成部分,其源头可以追朔到原始先民的狩猎伪装及巫术化妆,其发展历程大概是:随着中华民族农耕文明的发展,原始假面的宗教崇拜与审美意义逐渐分离,审美功能日益凸现,于是在汉代、唐代和宋代形成了各种歌舞假面,并在元代、明代以后形成了戏曲脸谱。因此,较晚形成的以娱乐为宗旨的中国戏曲脸谱其实与古老的宗教祭祀假面一脉相承。随着明清时期中国戏曲发展成熟,并成为包含民间文化在内的强大文化系统,社火也被纳入戏曲文化范畴,成为一种存在于民间的“类戏曲”形式;在这种背景下,日渐成熟的的戏曲脸谱(以秦腔脸谱为代表)随着社火中戏曲故事和角色的需要而被移植于社火表演形式,并形成了更适合社火游演形式的社火脸谱。因此,社火脸谱具有一种“类戏曲脸谱”的性质。考察发现也证明,清代社火脸谱与早期秦腔脸谱在风格、题材上即具有相似性。在戏曲脸谱与社火脸谱的不同发展历程中,戏曲脸谱由于受上层社会审美趣味和舞台表演方式的影响,逐渐向简约、整洁的风格演变;而生存在民间土壤里的社火脸谱,由于受民间社会审美趣味和露天游演方式的影响,保留了相对原始的风格因素和浓郁的民间性质,具有艳丽、花哨、繁琐的特征。社火脸谱与秦腔脸谱现今的风格差异,其实是二者发展演化“时间差”的反映。社火脸谱在其发展演变中,吸收了其它民间美术形式的营养,而具有自身独特的造型、敷色体系和审美追求,与中国主流美术及世界其它美术形态相对照,显示出鲜明的民间性和地域性。从美术学本体意义上来说,它的研究价值在于其丰富的图式结构和色彩象征寓意。其图式通过不同的“脸型”、“眼窍”及其组合方式来塑造角色的各种性格和身份;同时通过夸张额头的纹饰和图案,形成标志性图符来强调这种性格和身份。其色彩通过红、黑、青、蓝、绿、黄、白、金、银的不同象征寓意来表现角色的忠奸善恶,这种象征寓意的产生与中国传统的“五色”观有着莫大关系。社火还具有非常丰富的社会文化内涵,是我们了解农村风俗、文化、艺术、社会的“活化石”,十分珍贵。本文在这方面的研究主要包括“社火的文化沉积结构”与“社火的社会文化功能”两大部分。社火中蕴含着丰富而复杂的文化因素,这些文化因素并非散乱排列,而是具有一定的构成关系。现今呈现在我们眼前的民间社火形态,是它在发展历程中所积淀的诸文化因素的综合体。本文参照考古学的“地层学”方法,对构成现今社火形态的诸文化因素按其形成与融入社火的时序进行解析梳理,则一种文化“地层”关系即可清晰地呈现出来。这种层位关系为:底层——社、傩文化层;中间层——前戏曲文化层;上层——戏曲文化层,它们构成了社火的“文化沉积结构”。由于社火所蕴含文化因素的多样性,它也因此具有综合性的社会文化功能,其中主要包含三个方面:一、娱乐狂欢功能,这使社火成为农村社会盛大的文化娱乐风俗形式;二、精神崇拜功能,这是原初对社神的崇拜和假面驱傩的巫术性前宗教形式的孑遗;三、社会组织功能,这是社火的基本组织单位——里社从原始聚落、祭祀组织演进为基层社会行政管理机构的孑遗。上述诸项涉及了有关社火文化的形式与内容等多重因素,这是我们正确认识和保护社火文化的重要前提和基础。更多还原

【Abstract】 The“shehuo" is a kind of large and folk literature performance activity that is hold by the farmer. Its organization unit is" village" or" agency",its function is to greets the New Year’s Day and offers sacrifices to the spirit ,in particular banishes the ghost. The development of this kind of traditional civil literature performs chaperonage agriculture civilization but prosperous.This text draws lessons from the countryside investigation of sociology. Its main contents is the history and present condition、the order of appear、performing route and time、organization and management、the plan of the contents、disguise and theatrical mask、finance management、manufacture of clothing and prop、gong and drum、entertainer of shehuo. At the same time, it will make use of the history、sociology、ethnology and art to study the content、function、beauty of shehuo.The shehuo of the shannxi province contain a lot of performance forms, its cultural content is very abundant. Especially, the Baoji that Located the guanzhong western plain region is the place that zhou was origined. Its history is particularly long。The category of the baoji shehuo is very abundant, the atmosphere is very warmly. The way that people participate is very special.Under the complicated surface, there is abundan content.This kind of content involves to banish the ghost、offer sacrifices to the land spirit、celebrate the religious meaning, and drama of the spirit, dance, stunt, art, music。The origins of the shannxi shehuo theatrical mask is a consciousness that wears to disguise the mask. Along with the development of the society, the consciousness of the utility and witchcraft in the mask is gradually weak thin,but amusement、appreciate be strengthen. During the Ming and Qing dynasty, the disguise of the drama is very mature。That Bring about very big influence on the shehuo. The development and the maturity of the shannxi shehuo theatrical mask have the close contact with the qin drame. The Style of theatrical mask of qin dramar gradually have variety from crude and uncivilized to simple and cleanness. But the theatrical mask of shehuo existing in the folks have kopt the original style. Actually the difference of art style between dramar theatrical mask and shehuo theatrical mask is the“horary margin”of development of them.The shehuo theatrical mask has abundant diagram type structure and the symbolize meaning in color. In regard to the diagram type, it uses different"type" and" eye" to mold the personality and the body of the role;At the same time,it enhances this kind of body and personalities by exaggerates the wood grain of the forehead. It expresses docile and crafty of the role by the different symbolize meaning of red、black、green、blue、green、yellow、white、gold and ilver. The creation reason of this kind of symbol implied meaning is the fusion of the traditional" Wuxing" philosophy and the gestalt psychology.The cultural content of the shehuo is constitute by many factors that present a time successively. These factors were absorb by shehuo gradually. According to the“geologic strata theories”of archaeological, The shehuo contain following“geologic strata" relation: 1,floor——the agency and the exorcise;2,center-——the Stunt;3, upper level-——drama。The shehuo contain a lot of cultural functions.There are four function. First,it is amusement revel that is the most important amusement method of farmer north in China;second,it is the spirit coagulate which come from the adoration consciousness of the spirit toward the land and the witchcraft thinking of Exorcise;third,it is organization that come from folk" agency" which changed from the original group to basic government.更多还原