乡村集市的百戏艺术形态变迁及世俗审美理想  

Changes in the Artistic Forms and Secular Aesthetic Ideals of Folk Acrobatics in Village Fairs

作　　者：胡飞[1] Hu Fei(College of Art Design,Bengbu University,Bengbu Anhui 233030)

机构地区：[1]蚌埠学院艺术设计学院,安徽蚌埠233030

出　　处：《长江大学学报(社会科学版)》2025年第1期46-51,共6页Journal of Yangtze University(Social Sciences Edition)

基　　金：安徽省哲学社会科学规划项目“基于乡村‘逢会’民俗背景的淮河流域民间手工艺研究”(AHSKY2020D04)。

摘　　要：百戏历史悠久,内容丰富,是我国乡村集市娱乐活动的重要组成部分,呈现出动静交错、多元融合的发展特征,不仅展现了中华民族的智慧和创造力,也是中华文化多样性和包容性的体现。对百戏艺术形态及其图示语言、意象与具象、世俗审美的研究,不仅能帮助我们更好地理解和欣赏这些艺术形式,还有助于挖掘其背后的文化意义和社会价值,为传承和发展中华优秀传统文化提供新的视角和思路。Baixi,a form of traditional Chinese folk performance,has a long-standing history and rich content,serving as a significant component of entertainment activities in rural markets across China.It exhibits a dynamic interplay of movement and stillness,as well as a diverse integration of various cultural elements.This art form not only showcases the wisdom and creativity of the Chinese people but also reflects the diversity and inclusivity of Chinese culture.By exploring the artistic forms of Baixi,including its visual language,imagery and representation,and secular aesthetic ideals,this study clarifies the trajectory of Baixi’s cultural inheritance and its artistic development within the context of entertainment culture in rural markets.

关 键 词：百戏 艺术形态 世俗审美 集市娱乐文化 

分 类 号：J12[艺术—艺术理论]