發(fā)布時(shí)間：2018-04-04 09:05

  本文選題：戲曲文物　切入點(diǎn)：宋代演出　出處：《上海戲劇學(xué)院》2009年博士論文

【摘要】： 劉念茲先生在上世紀(jì)五十年代提出了“戲曲文物學(xué)”的概念,本文亦遵循“論從史出”為舞臺(tái)美術(shù)史研究的重要準(zhǔn)則之一,并以此來(lái)探討分析宋代戲曲文物和宋代演出的關(guān)系。 由于戲曲與人們的生活有著緊密的聯(lián)系,又由于戲曲演出具有形象性和舞臺(tái)性的雙重特點(diǎn),因而古典戲曲演出的痕跡被廣泛保留在各種形式的文物遺存中,成為了我國(guó)古代文化藝術(shù)殿堂中一批數(shù)量可觀的文物珍品。戲曲活動(dòng)總是和民間的信仰和民俗活動(dòng)結(jié)合在一起,戲曲文物也大多體現(xiàn)為這些活動(dòng)的物化形式,其類(lèi)別多種多樣,具體的載體包括:繪畫(huà)、壁畫(huà)、畫(huà)像磚、畫(huà)像石、木雕、石雕、磚雕、版刻、年畫(huà)、泥塑、陶器、瓷器、剪紙、織繡以及古代戲臺(tái)建筑等。這些戲曲文物珍品是中國(guó)戲曲演繹興盛發(fā)展的實(shí)物記錄。 本文的研究對(duì)象是宋代戲曲文物。 自公元960年趙匡胤建立宋朝開(kāi)始,至公元1279年南宋滅亡,這三百余年的朝代在中國(guó)歷史上承前啟后、繼往開(kāi)來(lái),中華社會(huì)在各個(gè)方面都發(fā)生了重大的變革,并對(duì)后世產(chǎn)生了極其深遠(yuǎn)的影響。陳寅恪先生認(rèn)為“華夏民族之文化,歷數(shù)千載之演進(jìn),造極于趙宋之世�！苯藝�(yán)復(fù)也說(shuō)過(guò):“若研究人心政俗之變,則趙宋一代歷史,最宜究心。中國(guó)所以成為今日現(xiàn)象者,為善為惡,故不具論,而為宋人之所造就,什八九可斷言也�！� 中國(guó)戲曲發(fā)展到宋朝,完全由“史前狀態(tài)”進(jìn)入到了一個(gè)嶄新的發(fā)展階段:勾欄瓦舍的出現(xiàn)與民間曲藝的繁興,使戲曲實(shí)現(xiàn)了對(duì)說(shuō)唱、歌舞和扮演故事等多種藝術(shù)手段的綜合。與此同時(shí),戲曲文物亦開(kāi)始成批出現(xiàn)。這些戲曲文物的誕生,毫無(wú)疑問(wèn)有其產(chǎn)生的社會(huì)歷史和文化條件,反之,這些戲曲文物保存到今天,我們也能將它們看作當(dāng)時(shí)民間風(fēng)俗的物化反應(yīng)。 本文將以宋代戲曲活動(dòng)的文化遺存為研究對(duì)象,以文物表現(xiàn)的內(nèi)容為切入點(diǎn),將文物、文獻(xiàn)、民俗三種資料結(jié)合起來(lái)討論中國(guó)戲曲前期發(fā)展規(guī)律。本文由引言、上篇、中篇、下篇和結(jié)語(yǔ)組成。 一.引言部分。簡(jiǎn)單闡述了戲曲文物的定義以及宋代對(duì)于中國(guó)戲曲發(fā)展的重要性。 二.上篇:《宋代戲曲文物概述》。該篇共分三個(gè)部分。 第一部分為:《宋代戲曲文物》。在此列舉了筆者整理到的宋代戲曲文物的名稱(chēng)、出處、特征等,并配有照片圖像。包括北宋期間文物26件;南宋期間文物13件。其中很大一部分圖像均為筆者到現(xiàn)場(chǎng)考察后拍攝的第一手資料,由于年代久遠(yuǎn),留存至今的宋代戲曲文物十分有限,通過(guò)這樣的盤(pán)點(diǎn),讀者基本可以對(duì)宋代戲曲文物有個(gè)大致的了解。 第二部分為:《宋代戲曲文物產(chǎn)生背景》。此處歸納論證了宋代戲曲文物產(chǎn)生的各種歷史文化背景,包括:1、“興文教、抑武事”;2、經(jīng)濟(jì)發(fā)達(dá),人口眾多;3、街市繁榮;4、市民階層出現(xiàn);5、文化生活普及;6、戲曲的發(fā)展。 第三部分為:《宋代戲曲文物分布》。筆者將搜集到的文物進(jìn)行歸納總結(jié),整理出兩宋戲曲文物的時(shí)間分布和地域分布。 三.中篇:《宋代戲曲文物分類(lèi)》。本篇將各種戲曲文物進(jìn)行分門(mén)別類(lèi),并挑出其中有重要意義的幾項(xiàng)戲曲文物進(jìn)行詳細(xì)考證。今天發(fā)現(xiàn)的宋元戲曲文物的存在形式有著多種形態(tài),筆者將現(xiàn)發(fā)現(xiàn)的宋代戲曲文物分為七大類(lèi): 1.碑刻。附:《河中府萬(wàn)泉縣新建后土圣母廟記》碑考;《潞州潞城縣三池東圣母仙鄉(xiāng)之碑》考。 2.磚雕。附:偃師出土“丁都賽”磚雕考;偃師酒流溝墓雜劇磚雕考、“溫縣東南王村宋雜劇磚雕”、“溫縣東南王村宋散樂(lè)磚雕”考;“河南博物館藏北宋雜劇磚雕”考。 3.石刻。附:“河南滎陽(yáng)朱三翁石棺雜劇石刻”考;“廣元市零七二醫(yī)院宋墓雜劇石刻”考。 4.壁畫(huà)。附:“白沙宋墓壁畫(huà)”考。 5.戲俑。附“鄱陽(yáng)南宋洪子成墓戲文磁俑”考。 6.繪畫(huà)。附:《骷髏幻戲圖》考;“宋雜劇絹畫(huà)”考。 7.器物。附:河南濟(jì)源宋代“聽(tīng)琴圖三彩枕”和“嬰戲圖三彩枕”考;“傀儡戲銅鏡”考。 四.下篇:《戲曲文物與宋代演出》。主要從各類(lèi)戲曲文物中分析論證宋代演出的狀況。包括:概述、戲班、觀眾、演出場(chǎng)地、演員、角色行當(dāng)、服飾裝扮、砌末、樂(lè)器九個(gè)方面。 戲曲文物可以修正我們對(duì)戲曲發(fā)展史的認(rèn)識(shí)、彌補(bǔ)文獻(xiàn)的不足。目前出土的宋代戲曲文物不僅給我們提供了當(dāng)時(shí)盛行的樂(lè)舞、說(shuō)唱、傀儡戲、社火、雜劇等表演的生動(dòng)場(chǎng)景,眾多雜劇演出場(chǎng)景中的腳色形象還使我們能結(jié)合文字的記載,直觀地了解當(dāng)時(shí)戲劇演出的腳色體制與扮演形態(tài)。本文從以上四個(gè)章節(jié)的分析,力圖通過(guò)對(duì)戲曲文物的研究與印證,盡可能復(fù)原戲曲舞臺(tái)藝術(shù)在宋代的演劇形態(tài)。
[Abstract]:In the 50s of last century, Mr. Liu Nianzi put forward the concept of "opera Heritage Science". This article also follows the "rule from history" as an important criterion for the study of art history, and explores and analyzes the relationship between Song Dynasty artifacts and song performances.
The opera is closely linked with people's life, because the dual characteristics of opera and the image of the stage of the classical opera performances, traces widely retained in various forms of cultural relics in the palace of art in ancient China culture in a number of cultural relics and treasures. A considerable amount of drama is always and folk beliefs and folk activities together, opera cultural relics also mostly reflected the materialized form of these activities, the various categories, including specific carrier: painting, murals, brick, stone, wood carving, stone carving, stone carving, engraving, New Year paintings, clay sculpture, pottery, porcelain, paper cutting, embroidery and the ancient stage construction. These treasures is the real record of China drama drama interpretation flourish.
The object of this study is the cultural relics of the Song Dynasty.
In 960 ad, Zhao Kuangyin established the Song Dynasty, to the year 1279 of the three hundred years of the destruction of the Southern Song Dynasty, Dynasty Chinese in the history of the past, the future, the Chinese society has undergone great changes in various aspects, and have a far-reaching influence on later generations. Mr. Chen Yinque believed that "the culture of Chinese nation, has 1000 years of evolution actually, in the world." Songzhi Zhao. Yan Fu also said: "if the people of the vulgar political change, while Zhao Song Dynasty history, the most suitable heart. So China become today phenomenon, good and evil, so no theory, created by the eight or nine, what can be asserted"
China opera development to the Song Dynasty, from "prehistoric state" has entered a new stage of development: the emergence of the field of drama and folk drama to thethriving, the rap, dance and play story comprehensive and other artistic means. At the same time, Xi Quwen also began to appear. These relics of the birth of opera there is no doubt, has its social and historical and cultural conditions, on the other hand, these cultural relics preserved to this day, we can treat them as chemical reaction at the time of folk customs.
This article will take the cultural relics of drama activities in Song Dynasty as the object of study, take the content of cultural relics as the breakthrough point, combine the three materials of cultural relics, documents and folklore to discuss the development rule of Chinese opera in the early stage. This paper is composed of the introduction, the first part, the second part, the second part and the conclusion.
First, the part of the introduction briefly expounds the definition of the cultural relics and the importance of the Song Dynasty to the development of Chinese opera.
Two. Part one: overview of Song Dynasty cultural relics. The opera "essay is divided into three parts.
The first part is: the Song Dynasty cultural relics. < cite the name of the author of the Song Dynasty, in order to drama cultural source, characteristics, and is equipped with a photo image. Including 26 pieces of cultural relics during the Northern Song Dynasty; Southern Song Dynasty during the 13 cultural relics. A large part of the image for the author to the site inspection after the filming of the first hand data, because the age, has retained the Song Dynasty cultural relic is very limited, through this inventory, readers can have a general understanding of the Song Dynasty opera cultural relics.
The second part is: "all kinds of historical and cultural background of Song Dynasty drama cultural background. The Song Dynasty cultural relics epagogic produced include: 1," Xingwen, anti military "; 2, developed economy, large population; 3, 4, market prosperity; public class; 5, the popularity of life; 6, the development of opera.
The third part: "the collected cultural relics are summarized. The author of the Song Dynasty cultural relics distribution, sorting out the two song drama cultural time distribution and geographical distribution.
Three. In the Song Dynasty: "cultural relics classification. This article will be arranged for all kinds of cultural relics, and pick out several cultural relics has important significance in the form of detailed research. Today I found the Song Yuan opera cultural relics has a variety of forms, the author will present the Song Dynasty cultural relics are divided into seven categories:
1.. "The river of stone house Wanquan County Houtu Temple Monument to remember the new test > < three; Luzhou Lucheng county east of Xian Xiang Bei Chi Mary > test.
2.. The brick of Yanshi unearthed "Ding dosetech" brick test; Yanshi wine dynasty brick tomb ditch, "southeast of Wenxian County Wang Song Dynasty brick", "southeast of Wenxian County Wang Song Sanle brick"; "Henan Museum of Northern Song Dynasty stone carving.
3.. Report of stone: "Henan Xingyang Zhu Weng Dynasty stone sarcophagus three" test "; the 072 Hospital of Guangyuan Zaju song tomb stone".
4. murals. Appendix: "murals in the tomb of Baisha song".
5.. "Poyang Southern Song Dynasty show figurines of Hong tomb figurines" magnetic Cui chim "test.
6.. Report of painting: "skeleton puppet show"; "Song Dynasty silk".
7.. Henan: Jiyuan Song Dynasty artifacts of "listening to the Qin porcelain pillow" and "baby play picture three pillow" test; "kuileixi mirror test.
Four. The opera and song: "cultural relics show. The Song Dynasty show the status of analysis mainly from the various cultural relics. Including: Opera Troupe, overview, audience, venue, actors, roles, costumes, props, the nine aspects of musical instruments.
The cultural relic can be corrected in our understanding of the history of the development of Chinese opera, make up for the lack of literature. The Song Dynasty unearthed cultural relics not only provides us with the prevailing dance, rap, puppet, fire, vivid scene drama performances, numerous scenes show the characters in the drama image also allows us to combine text records. At that time, intuitive understanding of theatre and play a role system form. Based on the analysis of the above four chapters, tries to investigate and confirm to the drama of cultural relics, as far as possible the restoration of opera stage art in his drama form in Song Dynasty.

【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：J809.2

【引證文獻(xiàn)】

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1 谷莉;宋遼夏金裝飾紋樣研究[D];蘇州大學(xué);2011年

2 陳章龍;北方宋墓裝飾研究[D];吉林大學(xué);2010年

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相關(guān)碩士學(xué)位論文 前3條

1 王維丹;舞蹈在古代戲曲中的功能變遷[D];中國(guó)藝術(shù)研究院;2010年

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3 石拓;桂陽(yáng)縣古戲臺(tái)建筑研究[D];長(zhǎng)沙理工大學(xué);2013年

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本文編號(hào)：1709286