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作 者:王泳舸[1] Wang Yongge(Xinjiang University of the Arts,Urumqi,Xinjiang 830049)
出 处:《新疆艺术学院学报》2018年第3期9-12,共4页Journal of Xinjiang Arts University
基 金:2016年文化部文化艺术研究项目"龟兹舞蹈的图想表达与教学呈现"
摘 要:龟兹石窟壁画中的乐舞形象一直以来都深深打动着每一个试图走近她、了解她的舞者。从舞蹈动态来说,她既熟悉又陌生;既触手可得又难以靠近;既是西域乐舞中的王冠,又是中华古代乐舞中的明珠。昔日壁画中的乐工舞人,在翩翩起舞中展示着优美的曲线和曼妙的舞姿,彰显着开放包容、兼收并蓄、多元文化基因的特质。将龟兹石窟壁画中的乐舞动态形象转变成动态身体呈现,不仅仅是简单的"复制""拷贝""再现",而应对壁画图像的视觉感受、对文本资料的释读、对龟兹文化基因的分析后,逐步厘清新疆现代文化中人文精神的根源所在,以及龟兹多元文化基因对其的深远影响。The image of music and dance in the Muraz Caves has been deeply impressed by every dancer who tries to approach her and understand her.From the dance dynamics,she is both familiar and unfamiliar;she is both at her fingertips and difficult to get close to.It is the crown of the Western music and dance,and the pearl of the ancient Chinese music and dance.The musicians and dancers in the past murals show beautiful curves and graceful dances,highlighting the characteristics of openness,inclusiveness and multiculturalism.Transforming the dynamic image of music and dance in the murals of the Muraz Cave into a dynamic body,is not only simply"copying"and"reproduction",but also the visual experience of the mural image,the interpretation of the textual material,and the gene of the Muraz culture.After the analysis,the clarification of the roots of the humanistic spirit in Xinjiang's modern culture and the profound influence of the Muraz multicultural gene on it.
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