摘要
基于康家石门子岩画中舞人造型的“正面侧身律”特点,并综合岩画的研究方法与舞蹈艺术的独特性,提出“面向还原法”。以此方法与科技断代相结合,创造性地将岩画中的舞蹈画面分为两期十四幅,推演出两性对舞与集体环舞的形式。环舞的众多舞人上肢呈隐喻生殖崇拜的“卐”字符舞姿,属于象征性的舞蹈动作;环舞中心交合状态下的男女对舞,则属于明显的模拟性动作。模拟与象征,两性对舞与集体环舞相结合,共同完成了表意清晰又不失艺术性的岩画舞蹈画卷。
Based on the characteristic"the law of frontality"of the dancer figures in the Kangjiashimenzi rock paintings,and integrating rock art research methods with the uniqueness of dance art,this paper proposes the"Front Restoration Method."Combining this method with scientific dating,the dance scenes in the rock paintings are creatively divided into two phases comprising fourteen segments,inferring forms of paired male-female dance and collective circle dance.The upper limbs of the numerous dancers in the circle dance assume a dance posture resembling the“卐”symbol,metaphorically representing the worship of fertility,belonging to symbolic dance movements.The paired male-female dance in a union state at the center of the circle dance belongs to obvious simulation of sexual movements.The combination of simulation and symbolism,paired dance and collective circle dance,jointly completes a rock art dance picture with clear meaning and artistic merit.
作者
李龙飞
Li Longfei(Chinese National Academy of Arts,Beijing 100012)
出处
《新疆艺术学院学报》
2025年第4期89-99,共11页
Journal of Xinjiang Arts University
关键词
康家石门子岩画
面向还原法
环舞
对舞
生殖巫术舞蹈
Kangjiashimenzi Rock Paintings
Front Restoration Method
Circle Dance
Paired Dance
Fertility Ritual Dance
