史学研读下的十六天魔舞考辩  

Textual research on the Sixteen Lha mo dance under the study of history

作　　者：穆杰 Mu Jie(Dance Culture and Art Research Center of Mianyang Normal University)

机构地区：[1]不详

出　　处：《中国舞蹈学》2022年第2期239-255,426,427,共19页CHOREOLOGY IN CHINA

基　　金：2022年度四川省哲学社会科学重点研究基地“康巴文化研究中心”项目《中国藏族舞蹈史》(课题编号:KBYJ2022B016)的阶段性成果;2020年度四川省哲学社会重点研究基地“康巴文化研究中心”项目《藏音乐舞蹈学构建及相关文献整理与研究》(课题编号:KBYJ2020B001)的阶段性成果。

摘　　要：提及十六天魔舞,舞蹈学者对于其产生的理解大多来自《元史》中的文字记载,但对于这个舞蹈的真实面貌似乎总是一知半解,甚至在“背景书化”汉族士人记述方式和黑格尔所述“有机的历史发展模式”思想的影响下逐步将自身的研究脱离佛教语境,并对该舞的本初面目产生误解。本文主要从藏传佛教女尊信仰的角度,结合佛教仪轨、佛教女性观及历史释读,试图还原十六天魔舞最初的形态及体语意涵。Referring to the sixteen Lhamo dance,most dance scholars’understanding of it comes from the written records in the history of the Yuan Dynasty,but they always seem to know a little about the true face of the dance.Even under the influence of the“Experiential”way of Han Scholars’description and Hegel’s thought of“organic historical development model”,they gradually separated their own research from the Buddhist context and misunderstood the original face of the dance.This article attempts to restore the original form and body language meaning of the sixteen Lhamodance from the perspective of the female worship belief of Tibetan Buddhism,combined with Buddhist rituals,Buddhist views on women and historical interpretation.

关 键 词：舞蹈学 藏传佛教 十六天魔舞 

分 类 号：B94[哲学宗教—宗教学]