非物质文化遗产影响下民间造型艺术的转变--以关索戏面具为例  

Transformation of Folk Plastic Arts under Influences of Intangible Cultural Heritage——As Mask of Guansuo Drama for Example

作　　者：薛其龙 XUE Qi-long(School of Literature and Science,Yuanan Normal University,Kunming,Yunnan 650000,China)

机构地区：[1]云南师范大学文理学院,云南昆明650000 [2]云南大学文学院

出　　处：《通化师范学院学报》2018年第3期25-30,共6页Journal of Tonghua Normal University

摘　　要：民间造型艺术受益于非物质文化遗产的实施,既得到了一定程度的保护与发展,同时也改变了它的常规发展路径。作为关索戏"脸壳"的关索戏面具,独存于云南阳宗镇小屯村,具有典型化的表现手法,夸张与装饰的结合,表演性成分的纳入的造型特点。对比1921年版与2010年版的面具,发现关索戏面具从夸张到概括,从"神面"到"人面",从宗教庇护到娱乐宣传等方面产生了造型、审美、文化功能的转变。非物质文化遗产既作用于关索戏又作用于物质形态的面具,政府政策、学者介入、经济追求成为关索戏面具转变的原因。Folk plastic arts benefit from the implementation of Intangible Cultural Heritage.It is not only got the extent of the protection and development,but also changed its original development route.As the face of Guangsuo drama,the mask of Guangsuo drama is only remain in the Xiaotun village,the Yangzong town of Yunnan province.It has some modeling features of having typical using technique,the combination of exaggeration and decoration and the joining of performance components.It has registered in to world heritage with Guangsuo drama in 2010 and it made the transformation of modeling,aesthetic and cultural function.Compare with the mask of 1921s,I find the character that Guangsuo mask showed from exaggeration to general,from‘god faces’to‘people faces’,from village protected to entertainment advertise.The intangible cultural heritage is not only effect Guangsuo drama,but also the real mask.The reason why the mask of Guangsuo drama has transferred is that the politics of government,the presentation of scholar and the pursuing of economic development.

关 键 词：关索戏面具 民间造型艺术 非物质文化遗产 转变 

分 类 号：J528.3[艺术—艺术设计]