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在文化人类学的视野中,藏族音乐、舞蹈等艺术是文化的象征,它包括两个层面的内容:一是艺术本身,它外显为独特的技术与艺术形态;二是这些技术和艺术形态背后内隐的民族文化价值和意义,在这里,形态和文化是不可分隔的。作为文化品类之一的“弦子”歌舞不仅是藏族人民喜闻乐见的一种民间传统艺术形式,也是集歌、舞、词、曲为一体的民间大众艺术,而巴塘弦子则是其中最具代表性的艺术精品之一。文章从文化人类学的视野,对巴塘弦子表现的艺术形式、题材内容、艺术特色和审美特征作了较系统的论述,同时,也考察了巴塘弦子与藏族农耕文明之间的关系及其在藏民族生活中的人文社会功能作用。
From the perspective of cultural anthropology, art such as Tibetan music and dance is a symbol of culture. It includes two levels of content: art itself, which is characterized by unique technologies and artistic forms; secondly, these technologies and artistic forms Behind the implicit values and significance of national culture, here, morphology and culture are inseparable. As one of the cultural categories, the “string” song and dance is not only a folk traditional art form loved by the Tibetan people, but also a popular folk art integrating song, dance, word and song, while Batang Xianzi is one of the most One of the most representative pieces of art. From the perspective of cultural anthropology, the article makes a systematic exposition of the artistic forms, subject matter, artistic features and aesthetic features of Bartang’s performance, and at the same time examines the relationship between the Bangtang Xianzi and the Tibetan farming civilization Humanities and Social Functions in Tibetan National Lives.