“现象”视域下竹马舞文化空间的“视觉修辞”言说  

On the “Visual Rhetoric” Representations of Bamboo Horse Dance in the Cultural Space from the Perspective of “Phenomenon”

作　　者：刘丽珺 LIU Lijun(School of Arts and Communication,Beijing Normal University,Beijing 100875,China)

机构地区：[1]北京师范大学艺术与传媒学院,北京100875

出　　处：《贵州大学学报（艺术版）》2023年第6期113-124,共12页Journal of Guizhou University Art Edition

摘　　要：竹马舞蕴含着昭君出塞故事、古舞遗留形式、古法阵图遗留、庙会经济支撑等多元表意的历史符码,这种“历史性”既是竹马舞原生文化空间的符码,又是现实交往存有的媒介。故事题材、形式结构和生态场域一同形构了竹马舞的民俗文化形态。竹马舞有三种视觉修辞“图式”:来自身体媒介的自我形态构建,谓之“样态”;来自民间舞蹈专业术语的队形调度,谓之“场图”,是蕴含古法布战的“阵图”;围绕文化形象所建构的文化情感,谓之“氛围”。文化空间给予“竹马舞”艺术形象一种象征性释义的文化想象,这种文化想象是建立在“回忆文化”之上的“未来构想”,而这种重塑构想扎根于当下民众精神生活审美化的意向性需求。The bamboo horse dance contains multiple historical symbols,such as the story of Zhaojun’s departing from Han Kingdom to marry the ruler of the minority for peace,the legacy of ancient dance forms,the legacy of ancient tactical deployment of troops,and the financial support of temple fairs.This“historicity”is not only a symbol of the original cultural space of the bamboo horse dance,but also a medium for real communication and existence.The subject matter,structural pattern,and ecological field together form the folk cultural of bamboo horse dance.There are three types of visual rhetorical“paradigms”in bamboo horse dance:self-construction through the medium of body,known as“form”;the formation scheduling from the professional terminology of folk dance,called the“venue map”,which contains the“formation pattern”of tactical deployment of troops;the cultural affections constructed around cultural images are called“ambience”.The cultural space provides a symbolic interpretation of the cultural imagination of the artistic image of“bamboo horse dance”,which is a“future prospect”based on“memory culture”,and this reshaping concept is rooted in the intentional demand for aesthetic appreciation in contemporary people’s spiritual life。

关 键 词：视觉修辞 竹马舞 文化空间 

分 类 号：J722.21[艺术—舞蹈]