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題名:漢代儺舞服飾考
書刊名:國立臺灣體育學院學報
作者:江蓮碧 引用關係
作者(外文):Chang, Lan-pi
出版日期:2002
卷期:10
頁次:頁107-131
主題關鍵詞:漢代儺舞服飾
原始連結:連回原系統網址new window
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     在遠古時代,人們居住於洞穴水邊,以簡陋的草葉蔽體,但隨著文明與科技的進 步,人們開始懂得使用動物的毛皮作為衣服,這不但表示人類比其他動物先進,也使得人類 逐步成為這個世界的領導者。 中國自來被稱為衣冠王國,由於中華文化乃是根植於生活的禮儀上,因此所有的科技發展也 都必需依循於此,以體現中國人之人生哲學,這種現象也同樣適用於中國的服儀文化發展之 上。 學者們大都認同:在文明社會中,展示個人社會地位的穿著動機,遠超過於禦寒的單純生理 需求,漢代自然也不例外。漢代是一個國力強盛的朝代,至今人們仍常以「大漢子民」自稱 ;漢代不管是在藝術、文學、政治思想或是人生哲學上,仍然對於現今的中國人有著極大的 影響,而本論文即將藉由對於漢代儺舞儀式以及出土文物的分析及研究,予以證實。 表面看來,儺舞只是古代中國人一種驅逐疫疾的儀式,這在周禮一書中,有著明確的紀錄; 但在更多的文獻中,我們不難發現,儺舞並不僅只是一種驅逐疫疾的儀式。漢代儺舞作為中 國儺文化的標準版本,深具典型性、象徵性與啟發性,更攸關藝術發生學、民俗學、符號學 等跨學科的研究價值。藉由對於儺舞儀式的研究,我們可以提供更多的資料予研究者,以進 一步理解並深入探索中國藝術、信仰、政治等等主題,而這也是建立研究古代中國的一個有 效方法。 無論古今,服飾文化都是中華文化中不可分離的一部份,而關於漢代儺舞的服飾研究也將成 為個人研究生涯中重要的入門階。
     In the earliest times, human lived in the caves or beside the rivers, they had nothing to wore but leaves and grass. But when the civilization and science technology are more grew up than ever, human began to use furs and animals skins as clothes, that demonstration of human are more development than animals, and make human became the leader of the earth. China was always called "the Kingdom of Fine Dress", because Chinese civilization was based on the protocol of human life, so all of the technology must to abide by it, in order to show up the philosophy of Chinese people, it is the same to fit the Chinese costumes culture. All the scholars are agreed, the purpose of put on clothes was to show their social status more than to protect themselves from cold in civilization times, so was in the Han Dynasty. The Han Dynasty was very powerful times, Chinese people always call themselves as "the Great Han Dynasty peoples" until now. It's art, literature, political theory and life philosophy are still influence the modern Chinese. This essay will proved it by through the research of Han Dynasty Nou dance ceremony and unearthed artifacts. It seems that Nuo dance was one kind of ceremony to expel the plague from peoples in ancient China, a very important book, which to discussed the ancient China many kinds of political institution and life etiquette, named "CHOU-LI", had a very cleared records about the Nou dance. Nuo rites during the Han Dynasty as a study on a specimen in Chinese Nuo culture, provided with model, symbolic and semiotic. But there are many things can proved, the Nuo dance was not only one kind of rites to expel the plague from peoples, but also offer many very important data to scholars to understand about the ancient Chinese art, persuasion, politics and so on, its also was an effectual way to established a method to study about the ancient China. In Chinese culture, costumes was always been an inseparable parts of Chinese peoples life, no matter in the earliest times or now, and the research of Chinese costumes in Han Dynasty Nuo dance will be the important rudiment in my career.
期刊論文
1.高光斌(199202)。古代衣袖功能與戲曲水袖表現。戲曲藝術,25。  延伸查詢new window
2.李翎(1999)。「舞紋盆」的舞解讀。尋根,1999(2),7-11。  延伸查詢new window
3.顧樸光(1990)。方相氏面具考。貴州民族學院學報,1990(3),49。  延伸查詢new window
4.楊景鸘(19601200)。方相氏與大儺。中央研究院歷史語言研究所集刊,31,123-165。  延伸查詢new window
圖書
1.蕭兵(199206)。儺蜡之風。江蘇:人民出版社。  延伸查詢new window
2.葉立誠(2000)。服飾美學。台北:商鼎文化出版社。  延伸查詢new window
3.朱長超(199006)。思維歷程。福建教育出版社。  延伸查詢new window
4.朱狄(199904)。藝術的起源。北京:中國年出版社。  延伸查詢new window
5.容希白(198501)。商周彝器通考。台北:文史哲出版社。  延伸查詢new window
6.列維.布留爾、丁由(2001)。原始思維。台北:臺灣商務印書館。  延伸查詢new window
7.Barthes, Roland、敖軍(1998)。流行體系(一):符號學與服飾符碼。臺北市:桂冠圖書。  延伸查詢new window
8.郭淨(1992)。中國面具文化。上海:上海人民。  延伸查詢new window
9.俞建章、葉舒憲(1992)。符號:語言與藝術。久大文化股份有限公司。  延伸查詢new window
10.宋新潮(1991)。殷商文化區域研究。西安:陝西人民出版社。  延伸查詢new window
 
 
 
 
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