|
|
|
 |
|
|
|
|
|
|
被發明的傳統: 高金榮與敦煌舞=Gao Jinrong and the Invented Tradition of Dunhuang Dance |
|
|
|
| Author |
鄧少凱 (著)=DeAeth, Duncan Lawrence (au.)
|
|---|
| Date | 2019 |
|---|
| Pages | 114 |
|---|
| Publisher | 國立臺灣師範大學 |
|---|
| Publisher Url |
https://www.ntnu.edu.tw/
|
|---|
| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
|---|
| Content type | 博碩士論文=Thesis and Dissertation |
|---|
| Language | 中文=Chinese |
|---|
| Degree | master |
|---|
| Institution | 國立臺灣師範大學 |
|---|
| Department | 東亞學系 |
|---|
| Advisor | 潘鳳娟 |
|---|
| Publication year | 107 |
|---|
| Keyword | 敦煌舞=Dunhuang dance; 高金榮=Gao Jinrong; 文化復興=invented tradition; 佛教=cultural revival; 絲路花雨=Along the Silk Road |
|---|
| Abstract | 本文以高金榮教授和敦煌舞蹈爲例，探討文化大革命後中國的文化復興及敦煌舞在現代中國社會的影響力。筆者認爲敦煌舞是一種在20世紀被發明、創造的現代傳統舞蹈。在1979年民族舞劇《絲路花雨》登場以後，高金榮開始設計一個以敦煌莫高窟壁畫的舞姿、音樂家和佛教净土的意象發明的新舞蹈系統。她融合了莫高窟壁畫的藝術資料和自己的舞蹈知識與創意性，成爲一個新的舞蹈種類。雖然莫高窟壁畫代表著一種歷史上的宗教、文化脈絡，但高金榮的目標并不是爲了表現壁畫的宗教性。敦煌舞出現在文化大革命後，此時中國正在經歷社會的改革與復興，這時期社會致力於恢復民族傳統與宗教，使敦煌舞得以被社會認同。本研究的主旨在於探討敦煌舞的來源與特性，本文的三個基本研究目標爲：(一) 、分析高金榮創造敦煌舞的動機和方法。(二)、 探討在20世紀後期，融合了多元文化而發明的敦煌舞蹈如何得以被分類爲古典中國舞蹈之一。(三)、 敦煌舞如何成爲佛教、 文化復興及民族文化遺產的代表。
A case study in cultural revival; this research will investigate the art form of Dunhuang dance in both its design and practice, while considering its cultural significance relative to the tradition's origin in late 20th century China. Dunhuang dance is an invented tradition and art form based on Buddhist imagery and symbolism from cave murals found in the Mogao cave complex of Dunhuang. These murals represent a religious and cultural milieu, which was utilized by the creator of Dunhuang dance, Gao Jinrong, to fashion a new dance tradition in the modern era. From a cultural studies perspective, this thesis will consider; (a) the motivating factors and process of design on the part of Dunhuang dance's primary creator, Gao Jinrong, (b) Dunhuang dance's classification as a stream of Chinese classical dance, given the variety of cultural elements upon which it is based, and the date of its appearance, and (c) the dance form's creation as an organized cultural tradition in the context of a broader cultural revival in China's reform era, with specific reference to the Buddhist revival of the 1980s. |
|---|
| Table of contents | Acknowledgements i
Table of Contents ii
Table of Images iii
1. Introduction: Research Background and Literature Review 1
1.1 History of Mogao Cave Murals and the origin of Dunhuang Dance 2
1.2 Research Questions and Research Method 4
1.3 Literature Review 6
1.3.1 The relationship between the Mogao Murals and Dunhuang Dance 7
1.3.2 Aesthetics of Chinese Dance and Dunhuang Dance 23
2. Dance and Tradition in the PRC: Revolution and Revival 37
2.1 The Assault on Tradition and Performing Arts of the Cultural Revolution 38
2.2 Ethnicity, National Identity and a New Era of Dance Art 43
2.3 China's late 20th Century Buddhist Revival 49
3. Gao Jinrong and the Invention of Dunhuang Dance 54
3.1 Gao Jinrong's Process of Design 55
3.2 Gao Jinrong's Analysis of Dunhuang Dance 59
3.3 Gao Jinrong on her Intentions and the Significance of Dunhuang Dance 64
4. Dunhuang Dance: A Case Study in Cultural Revival 72
4.1 Dunhuang Dance as Performing Heritage 73
4.2 Dunhuang Dance and the late 20th Century Buddhist Revival 81
4.3 Dunhuang Dance, Aesthetics, and Cultural Value 91
5. Conclusion 99
References 109 |
|---|
| Hits | 235 |
|---|
| Created date | 2022.09.28 |
|---|
| Modified date | 2023.01.17 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
