氐羌遗韵:陕甘川毗邻区域祀神美术的文化渊源  

The Di and Qiang National Life Charm:On the Sacrificial Art Culture Origin in the Adjacent Area of Shanxi, Gansu and Sichuan Province

作　　者：刘吉平[1] 

机构地区：[1]陇南师范高等专科学校,甘肃陇南742500

出　　处：《地方文化研究》2015年第5期44-50,共7页Local Culture Research

基　　金：2012年校级重点科研项目"西汉水流域秦早期美术文化研究"(项目编号:2012LSSK 01004);2014年度教育部人文社会科学研究一般项目"氐羌遗韵:陕甘川毗邻区域民族民间美术文化研究"(项目编号:14YJA760016)阶段性成果

摘　　要：陕甘川毗邻区域祀神活动中的美术文化,体现出鲜明的氐、羌民族本原文化特色,是氐羌民族传统文明和文化变迁的活化石。首先,祀神活动中的服饰、道具及其面具中的图饰符号,是氐羌族系生息繁衍的祥瑞符和祭天仪式的原始图腾。其次,无论区域内庙宇的建筑形制还是神祗造像的装饰彩绘,在"多民族文化共生"的状态下,传承着氐羌文化的历史脉络。第三,祀神活动仪式中的程序及其符号语言,被赋予了"神性"的权威的,传达出古氐羌民族本源文化特有的意趣。因而,该区域内的许多民间文化习俗,特别是祀神活动保持了氐羌民族原有的文化神韵。The sacrificial art culture embodied the distinctive primitive culture features of the Di and Qiang nations in the adjacent area of Shanxi, Gansu and Sichuan Province, that is the living fossil of traditional civilization and culture changes. First of all, the costumes, props and mask figures in the sacrificial activities were the reproduced auspicious sign and primitive totem worship ceremony. Secondly, regardless of the architectural form or divine statues of temples and adornment coloured drawing or pattern in the adjacent areas, inherited the Di and Qiang cultural history under the conditions of ＂symbiosis＂ multi-ethnic culture. Thirdly, the program and its symbolic language of activities in sacrificial rites, endowed with the authority of the ＂divine＂, conveying the ancient Di and Qiang ethnic original culture peculiar interest. So, many of the folk custom cultures in the area, especially of sacrificial activities kept the original cultural romantic charm.

关 键 词：陕甘川 氐羌 祀神美术 文化渊源 

分 类 号：B933[哲学宗教—宗教学] J0[艺术—艺术理论]