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민혜란 중국인문학회 2009 中國人文科學 Vol.0 No.43
本稿通过伞头秧歌的即兴编词演唱和春节拜年表演,可以了解到将歌舞乐相结合的伞头秧歌的实际表演。伞头秧歌是本地的形式与外地流入的民间艺术相结合,其形式和内容带有北方秧歌的普遍特性。春节期间,乡村组织的伞头秧歌的队伍,由仪仗队、乐队、龙舞、伞头、架子鼓、小会子、旱船(水船)和包括竹馬、大头娃娃等在内的民间传统舞蹈及狮子舞等项目构成。 伞头是以即兴编词演唱秧歌, 起到指挥秧歌队伍的角色。特别是临县的伞头秧歌, 在1980年以后借助政府支援,确保了伞头的对唱独立项目。进入2000年以后,伞头的对唱更进一步加速了市场化, 因此临县文化局正在对于已失传或将失传的项目,进行復原和保护的推展工作中。 伞头的秧歌演唱被比喻为“现炒现卖”,绝对注重“即时性”和“创作性”。秧歌唱词不仅仅只是单纯的演唱,创作的那一刻就是表演。主要用拜年问好、互相挑逗对歌的形式,采用临县的本土方言即兴唱歌。 著名伞头虽然精细的活用定型的句式和同声同韵的押韵方式,但是一般伞头却不会被这些形式所拘束。 乐队的构成乐器是大鼓、战鼓、马锣、铙钹、铰子、手锣和大唢呐等。伞头演唱时,伞头向乐队发出要唱的信号后, 以大鼓、大锣、大铙钹、铰子等打击乐演奏,给观众以豪放和隆重的感觉。 根据伞头秧歌的表演场所,演出形式区分为過街、掏場子、小会子等。“過街”是在街上边行进边展开的表演。“掏場子”是广场和院落中进行的大型集体舞,边扭边走形成一个图案。“小会子”是由3-5人组成的一种小演唱项目,包括有简单的故事情节的舞蹈和武术等项目。小演唱的实际表演省略了歌唱,扭秧歌的动作与集体歌舞中的步伐基本相同, 但比较注重根据剧情塑造人物性格。以愉快的气氛为主的临县伞头秧歌的拜年表演与清代民间举行的傩仪一脉相通。
‘票號’를 중심으로 살펴본 산서성 문화 관광의 배경 및 현황
민혜란 중국인문학회 2009 中國人文科學 Vol.0 No.41
由于山西地域拥有丰富的文化资产, 因此对于将来展开文化观光是十分重要的。 明代时期山西商人主要是盐商和铁商。由于山西的优势地理位置以及商人能够积极地适应时代的变化, 所以发展到清末。特别是在山西省中部地区平遥古城, 具有多样的历史文化遗产, 对此可以进行文化观光。 平遙古城内的日升昌票号博物馆, 通过观览山西票号的遗产, 能够在交流中增进对晋商的历史和文化资源的了解。 通过博物馆的展览物品和观光讲解师的讲解, 更可以了解到日升昌會票的发行及管理有关的情況, 以及在票号中曾经使用的工具, 和当时的经营构造体系, 职员的选拔管理, 营业期间追求利润的方法等。当然同时也可以通过票号博物馆近一步了解晋商的文化。以后将会整理更多有关晋商文化遗产的资料, 如建筑文化及表演文化等的发展, 和晋商的历史影响, 将展开近一步的研究。
전통시대 중국 '民間儺'의 재구성 - 타종교와의 융화를 중심으로 -
민혜란 중국인문학회 2013 中國人文科學 Vol.0 No.53
The research examines how Folk Nuo in the traditional era of People's Republic of China merged and developed with Shamanism, Taoism and Buddhism. The research results are as follows. 1. Shamanism comprising the basis in the formation of Folk Nuo: Shamanism as a primitive religion enjoyed its best days in slave societies. Folk Nuo is formed on the foundation of Shamanism, and so Shaman is the higher concept of Nuo. 2. Folk Nuo being accepted in areas where Shamanism was prevalent: Folk Nuo of Tujia minority was strongly based on Shamanism practiced in areas where shamanistic practices such as ancestor worship were prevalent, and then formed by embracing Nuo of Han Chinese. 3. Folk Nuo merging with Taoism: Taoism borrowed shamanistic culture of Ba people, ancestors of Tujia minority in the process of its formation. The triple purity of Taoism is considered as taking the top rank among the gods worshiped in the Nuo altar of Tujio minority group, and folk shamans which were influenced by Taoism were also important gods of Nuo altar. 4. Buddhism accommodating the elements of Folk Nuo: Cham which is a ceremonial dance of Buddhism in Tibet accommodated religious ritual ceremonial dances of Tibetan Bon religion, forms of ritual services from Folk Nuo, and exorcism dances in the process of its formation. 5. Folk Nuo accommodating Buddhism: Folk Nuo which blended into the principles of Buddhism produced Nuo masks in the resemblance of Buddha figures and also borrowed the worship style of Buddhism.