观看、膜拜与浅视：宋代文人摹写舞伎身体考论  

Viewing, Worship and Contempt： the Bodies of Female Dancers in Poem and Ci Written by Male Authors of Song Dynasty

作　　者：尹航 YIN Hang(Journal of Beijing Dance Academy,Beijing 100081,China)

机构地区：[1]北京舞蹈学院学报编辑部,北京100081

出　　处：《北京舞蹈学院学报》2018年第3期34-42,共9页Journal of Beijing Dance Academy

摘　　要：宋代舞伎这一群体作为宋代舞蹈的主要承载者，时常进入宋代文人文学创作的视野之中，成为宋代文士反复摹写、吟咏的对象。有宋一代，诗词颇繁，宋诗与宋词中可见颇多描摹舞伎身体之句。诉诸宋代文人笔端的舞伎身体始终处于被男性文人观看的模式之中，在文字的表层呈现出轻盈婉媚、娇柔纤丽的形象。然而细味之下，这样的女性身体则在文字深层呈现为被割裂的类型化与碎片化身体，以及游离于仙妓两端的唯美化与欲望化杂糅的复合身体形象。她们姿容胜雪、笑靥如花、纤腰小足、冰肌萦香，她们徘徊于被男性文人膜拜与浅视的两极。这最终指向的是剥离了自身，丧失了生命真实且游离于自我情感之外的身体。那是宋代男性文人群体摹写中作为“他者”的女性身体。As the main dancing performers, female dancers usually became the subjects of poem and Ci written by male authors in Song dynasty. In the description of male poets, the bodies of female dancers, which were light, gentle and charming, were in the mode of male viewing all the time in the surface layer of writing. However, their bodies were the complex of dehris, heauteousness and desire in the profound level of description. Actually, those pretty, smiling, slim and fragrant female dancers were admired and despised by male writers at the same time. Finally, deprived from their own lives as well as genuine emotions, they became ＂the other＂ from the perspective of male authors.

关 键 词：宋代舞伎身体 文人摹写 类型化 唯美化 欲望化 “他者” 

分 类 号：J720.9[艺术—舞蹈]