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世界舞蹈史和当下的舞蹈发展表明:同样从“叙利亚文明”中发源的基督教舞蹈文化和伊斯兰舞蹈文化在其流淌的时空过程中愈来愈疏远,如同同样发源于中国青藏高原的黄河和长江一样,待到下游时已然远隔千里,互不相识了。其中根本的原因不能不考虑到两种舞蹈文化中两个核心要素——思想观念和身体对象。 “身体对象”(我们把它界定为“舞者用身体舞动出来的艺术形象”)始终是宗教所关注的艺术对象之一。冯·奥格登·沃格特在其所著的《艺术宗教》一书中提出了“思想”和“对象”的两种化合关系:“艺术家通常采用下述两种手法之一,一是艺术家先有一个思想,再选择某些特殊对象来体现这一思想;二是艺术家以某个对象为基础,来表现它本身的思想内涵。在前一种情况下,艺术家的思想被客观化了,而在第二种对象则被思想化了。在艺术史上,这两种表现手法被称为古典主义和浪漫主义。在宗教中则称之为象征主义与圣事主义”。 为了宣传教义,所有宗教始终并且一定兼顾上述A、B两种方法,但就倾向而言,伊斯兰舞蹈更多地侧重于前者,即以宗教思想意识为旗帜,要求舞蹈这个特殊的身体“对象”最终应该体现出“思想”,从而与以芭蕾舞为代表的基督教舞蹈文化划开了一条艺术边界。
The history of world dance and contemporary dance development show that Christian dance culture and Islamic dance culture, also originating from “Syrian civilization,” are becoming increasingly estranged in their flowing time and space, just as the Yellow River and the Yangtze River originate from China’s Qinghai-Tibet Plateau , Until the downstream already thousands of miles away, are not acquainted with each other. The fundamental reason can not but take into account the two core elements of the two kinds of dance culture - ideological concepts and body objects. “Body object” (which we define as “the artistic image that the dancer uses to dance out of the body”) has always been one of the art objects of religious concern. Von Ogden von Gert in his book “Art and religion” in a book, “thought” and “object” of the two compound relationship: “The artist usually adopts one of the following two methods, one is the artist First, there is an idea, and then select some special objects to reflect this idea. Second, the artist expresses its own connotation based on an object. In the former case, the artist’s thought is objectified, In the second category of objects, however, these two kinds of representations are thought of as classicism and romanticism, and in religion they are called symbolism and sanctification. In order to promote the doctrine, all religions have always and must take into account the above two methods A and B. However, as far as their tendency is concerned, Islamic dances are more focused on the former. That is, they require the special physical ”object“ of dance as the banner of religious ideology, Ultimately, ”thoughts" should be reflected, thus opening up an artistic boundary with the Christian dance culture represented by ballet.