谢丹, 陈乃良. 由“毛古斯”看大通舞蹈纹——兼论生殖崇拜与原始舞蹈[J]. 南昌航空大学学报(社会科学版), 2008, 10(3): 108-112.
引用本文: 谢丹, 陈乃良. 由“毛古斯”看大通舞蹈纹——兼论生殖崇拜与原始舞蹈[J]. 南昌航空大学学报(社会科学版), 2008, 10(3): 108-112.
XIE Dan, CHEN Nai-liang. From“Maogusi”to Dancing Line on Datong Painted Pottery——on generation adoration and primitive dance[J]. JOURNAL OF NANCHANG HANGKONG UNIVERSITY(SOCLAL SCIENCES), 2008, 10(3): 108-112.
Citation: XIE Dan, CHEN Nai-liang. From“Maogusi”to Dancing Line on Datong Painted Pottery——on generation adoration and primitive dance[J]. JOURNAL OF NANCHANG HANGKONG UNIVERSITY(SOCLAL SCIENCES), 2008, 10(3): 108-112.

由“毛古斯”看大通舞蹈纹——兼论生殖崇拜与原始舞蹈

From“Maogusi”to Dancing Line on Datong Painted Pottery——on generation adoration and primitive dance

  • 摘要: 本文由土家族毛古斯仪式舞蹈切入,论及原始宗教与原始舞蹈的关系,以及生殖崇拜在原始舞蹈中的具体形态.通过对大通彩陶舞蹈纹的创作背景的思考,将大通彩陶舞蹈界定为以生殖崇拜为目的的舞蹈类型,其连臂踏歌形式是原始舞蹈的主要形态,也是今天歌舞形式"踏歌"的滥觞."毛古斯"和"大通舞"两者都是男性崇拜信仰的具体表现.

     

    Abstract: It began with the Maogusi(毛古斯)ceremonial dance of Tu gia, treated of the relationship between primitive regions and primitive dance, and the specific form of the phallism in primitive dance.By considering the background of drawing the dancing incised line on the Da tong(大通)painted pottery, the dance on the Da tong(大通)painted pottery was regarded as a type of dance for phallism.The dance which was played arm in arm and step for step was the main type of the primitive dance, it was also the origin of today's song and dance.Maogusi(毛古斯) and Da tong(大通) dance were also the manifestation of the religious worship of phallism.

     

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