【作者】 杨亭；

【导师】 王本朝；

【作者基本信息】 西南大学 ， 美学， 2011， 博士

【摘要】 近年来,国内美学界兴起了民族美学,尤其是民族审美文化的研究热潮。就土家族而言,较多是从地域性讨论土家族的审美文化,或是对土家族审美文化中的土家织锦、吊脚楼、民歌等进行分论研究,并且这些研究同土家族蕴涵的丰富的美学资源相比,却显得较为匮乏,遂使土家族审美文化研究流于浅表化、单一性。这样的研究既不能对土家族审美文化做出系统而深入的阐释,也在一定意义上或多或少忽视了美学理论和具体艺术形式之间的关系。随着我国审美文化研究的转向,加之非物质文化遗产系统工程的不断推进,在一定意义上激发了审美人类学的知识建构,同时,也暗合了少数民族审美文化的现实境遇,其结果是必然带来了少数民族文化研究视角的拓展和研究方式的变化。因此,在现有知识背景下,有必要从美学、文化人类学、民俗学的视角,对处于中国内陆惟一的文化沉积带的土家族审美文化进行深度描述,尤其是标示土家族民族性的傩戏、药师、花灯戏与摆手舞进行具体阐释。首先,本文认为土家族在共同体逐渐形成过程中,直接受到“民族生境”的影响与制约,从而铸造了土家族审美意识。其一是复杂多变的自然环境对土家族审美意识的影响,主要表现为高远深幽的地域环境养成了土家族以生命为美的审美观念,形成了“动”、“力”、“乐”的审美范畴,赋予了土家族民众的自然美的审美视阈,以及土家族民众对自然生命的价值关怀的真切体验。其二是双重的生计方式对土家族审美意识的影响,主要表现为土家族经历了渔猎文化和稻作文化的浸染,也在人与自然的同情感和亲切感的精神召领下,催生了土家族的和谐之美的审美意蕴。其次,在宗教仪式与艺术形式及其审美意义共生与相互依存的中心话语的引领下,将土家族的傩戏、药师、花灯戏与摆手舞等艺术形式,及其蕴涵的宗教指向,纳入到美学意义上对土家族的戏剧、宗教与舞蹈进行审美观照和美学阐释。具体表现在：一是傩戏。通过傩戏的信仰空间中的神圣与凡俗场域的设置,以及贯穿于傩戏的整套仪式过程,从请神到娱神(酬神)乃至于送神,揭示出驱邪逐疫、禳解丰产与祈福纳吉构成土家族傩戏的文化意义,其中的驱邪逐疫和禳解丰产处于土家族傩戏的文化深层,祈福纳吉则是处于土家族傩戏的文化表层。同时,土家族傩戏借助戏剧符号与表演形式,表现出独特的审美特质,即从唱辞和仪式意义追求的世俗化倾向来看,体现了以俗为美的审美风格；从秦童饰演的审美艺术形象来看,体现了以丑为美的审美形态；从傩戏表演的重要载体即傩面具来看,体现了以神秘为美的审美对象。二是药师。土家族药师以其浓郁的地域氛围和民族特性,凭借惊异与奇特的符咒与仪式,实施人神两解的行巫方式,进而建构了自身的文化身份,也在仪式中诠释了文化意义。同时,土家族药师的仪式行为的神秘体验,其本身就是一种审美体验,因而凸现了蕴涵的美学意义,主要在于药师的审美人格范型、药师的阳刚之美和审美指向。三是花灯戏。属于“南灯”范畴的土家族花灯戏,以其浓郁的民间祭礼文化中的祭祀仪式与演出礼规,在关涉季节转换所衍生的仪式行为中体现了该民族的庆典精神,同时,花灯戏中的花灯歌舞和花灯审美情感,能指和所指,形式和意义等相互交织并凝结为一个文化指向,也就是女神崇拜。在此基础上,通过花灯戏的表演姿态、动作和唱辞等戏剧符号,它所隐现的就是一种阴柔之美,这也成为了土家族花灯戏的审美风格。四是摆手舞。摆手舞借助宗教仪式和舞蹈表现形式,其意义指向是祭祀祖先,同时表达了民众对风调雨顺、五谷满仓、子孙绵延、平安吉祥等情感。除此之外,“同边手”的舞蹈动态,意在提升土家族民众的凝聚力,甚至是成为了表达土家族族史的最佳方式,还有,茅古斯舞蹈以茅草的装扮行为,来表达对先祖们的感恩和缅怀之情。正是因为“同边手”的舞蹈动态和茅古斯舞蹈,在虚幻的力的作用下形成的“神秘的舞圈”,从而也构成了“意义的符号”,所以说,土家族摆手舞的审美价值不在于简单的复写人们的行为动态,而在于展示人们深藏内心的生命激情。更为重要的是,摆手舞体现了土家族民众独特的圆形的审美特质。最后,探讨土家族审美文化传统的延续和再造问题。随着传统社会向现代社会的文化转型,尤其是多元文化共存与交织的发展态势,土家族民众自觉遵从了“习惯性做法”,延续了审美文化中的诸多艺术活动,同时,也在延续文化传统的过程中进行了文化生产与再造。更多还原

【Abstract】 In recent years, the Ethnic Aesthetics has becoming increasingly popular in the domestic Aesthetics, especially more and more studies focusing on the Ethnic Aesthetic Culture. As far as the Tujia ethnic is concerned, most of the existed studies in this field was from geographical area to discuss it, or from one aspect, such as Tujia brocade, wooden house projecting over the ground, folk songs to study the aesthetic culture of Tujia ethnic. The studies are not enough to reflect the colorful aesthetic resources very well so that they only focus on the surface and a single part of it. The limitation is that the studies can not explain Tujia aesthetic culture systematically and deeply, and to some extent the studies more or less ignore the close relationship between aesthetic theory and specific aesthetic forms.With the change of aesthetic culture study in China and the process of non-material culture heritage projects, it stimulates the re-building knowledge in aesthetic anthropology, meanwhile, it complies with the present need of aesthetic culture in minorities. It is bound to the result that the study angles are developed and the study ways are changeable on minority culture. Therefore, under the present research conditions, it is very necessary to deeply describe the Tujia aesthetic culture—the only culture area, which experienced deep deposit and the only place located in the in-land of China, from the point-views of aesthetics, cultural anthropology and folklore, especially the specific description and explanation on Nuo Opera, Folk Pharmacists, Lantern Opera and Hand-Waving Dance of Tujia ethnic.First, this study considers that during the procedure of Tujia ethnic community formation, it is directly affected and restricted by "Ethnic Living Environment", and casts the aesthetic consciousness. One of reasons is that the complicated and changeable natural environment has an effect on the aesthetic culture of Tujia ethnic. This develops the aesthetic consciousness of Tujia ethnic based on the life due to the high and deep valley geographical environment, forms the aesthetic concepts of "movement", "Strength" and "Happiness", endows the Tujia people with the natural aesthetic angle and the real experiences of the natural life value. The other reason is the two-coins living patterns’impact on the Tujia aesthetic consciousness. This develops the harmonious aesthetic meanings after experiencing the infection of fishing and hunting, and rice cultivation culture, with the spirit leadership of sympathetic and cordial feeling between human and nature.Second, under the leadership of key words or language based on the intergrowth and interdependency of the religion ceremony, artistic forms and aesthetic meanings, this study regards the artistic forms of Nuo Opera, Folk Pharmacists, Lantern Opera and Hand-Waving Dance and their religious indications as the aesthetic meanings and appreciates the opera, religion and dance of Tujia ethnic and explains their aesthetic meanings. The specific description and explanation of these is as follows:1. Nuo OperaThrough the belief space arrangement of God and middlebrow on Nuo Opera, the complete set of ceremony procedure, from inviting God to sending God, it reflects that the cultural meaning of Tujia Nuo Opera includes driving the evils and diseases away, wishing the near future promising and blessing big fortune. Among these cultural meanings, the former two are in the deep layer of Tujia Nuo Opera culture while the third is the surface of the culture. At the same time, the unique aesthetics style is reflected by Nuo Opera’s symbols and performance patterns, that is to say, from the singing words and ceremony meaning Nuo Opera can reflects the aesthetics style based on customs; from the aesthetic image acted by Qintong it reflects the aesthetic patterns based on awkwardness; from the carrier of Nuo Opera performance or Nuo Masks, it reflects the aesthetic objects based on mystery.2. Folk PharmacistsTujia Folk Pharmacists build their culture identification based on the local and ethnic features, using surprising and unique magic figures and ceremony, separating the explanation of human and god. Furthermore, the ceremony explains the culture meaning. In the meanwhile, the mysterious experience on the ceremony behavior of Tujia Folk Pharmacists is, in fact, itself the aesthetic experience. So it reflects the implied aesthetic meaning, and this relies on the aesthetic personality and masculine and aesthetic direction of Folk Pharmacists.3. Lantern OperaTujia Lantern Opera is belongs to the scope of "South Lantern", it has full-bodied folk sacrificial rites culture and performance rules, and it also shows the ethnic ceremony spirits when the ceremony is involved with the season change. Meanwhile, the combination of lantern songs and dance, lantern aesthetic feelings, expressions and implications, forms and meanings is the cultural indirections—that is the Goddness Worship. Above this, it also shows the yohji yamamoto through the performance posture, action and singing words and so on opera symbols, it is the aesthetic style of Tujia lantern Opera.4. Hand-Waving DanceHand-Waving Dance expresses the people’s feelings on favorable climatic weathers, produce good harvests, descendants continuousness and all the best. Except this, "Same Direction Hand-Waving" dance movement means the improvement of Tujia people’s cohensive force, furthermore, it is the best way to express Tujia ethnic history. In addition, Maogusi Dance embodies the feelings on ancestors’ thanksgivings and commemoration through the thatch decorations. It is just because the "Same Direction Hand-Waving" and Maogusi Dance, they form the "Mysterious Dance Circle" under the imaged power and the "Meaningful Symbols". Therefore, the aesthetic value of Tujia hand-waving dance not only simply repeats the people’s behaviors and movements, but shows the life passions hidden in the heart.In the end, this study explores the continuity and re-creation of Tujia aesthetic culture traditions. With the development of society from the traditional one to modern one, especially the intergrowth and interactions of multi-culture development tendency, Tujia people automatically follows the "Established Practice" and continues many art activities of aesthetic culture. Meanwhile, these lasting art activities improve the production and re-creation of aesthetic culture during the process of insisting on culture traditions.更多还原