文化人类学视域下的《亚鲁王》笙鼓文化  

"Yalu King" in Shenggu Culture in the Cultural Anthropology Perspective

作　　者：蔡熙[1] 

机构地区：[1]贵州省社会科学院

出　　处：《中华文化论坛》2015年第10期122-127,192,共6页Journal of Chinese Culture

基　　金：2013年国家社科基金项目"<亚鲁王>的文学人类学研究"(项目编号:13XZW024)阶段性成果

摘　　要：在麻山苗族丧葬仪式上唱诵《亚鲁王》史诗的一系列程序都离不开铜鼓、木鼓和芦笙的演奏,俗称"打鼓吹笙"。苗族的笙鼓文化起源古老,历史悠久,且至今仍然在苗族的生活中发挥作用。运用文化人类学的视野和方法研究《亚鲁王》史诗中笙鼓文化的起源和演绎流变,不仅是文化人类学的一个重要学术目标,而且对于认识《亚鲁王》史诗的价值具有十分重要的意义。Chanting 'Yalu King' epic in Mashan Hmong funeral ceremony on a series of procedures are inseparable with drums, wooden drum and lusheng playing, commonly known as 'Playing Drum and Sheng.' Shenggu in Hmong culture since ancient time, has a long history, and still play a role in the lives of the Hmong. Research epic drum cultural origins and development in 'Yalu King' with the visions and methods of culturalanthropology, is not only an important academic goal, but also has a very important epic significance about the value of 'Yalu King'.

关 键 词：《亚鲁王》 铜鼓 木鼓 芦笙 祖先崇拜 

分 类 号：B933[哲学宗教—宗教学]