Difference between revisions of "Index.php"

From China Studies Wiki
Jump to navigation Jump to search
 
(13 intermediate revisions by 6 users not shown)
Line 1: Line 1:
−
==The Final Paper==
+
#REDIRECT [[Main_Page]]
−
====Huizhou Architecture — Appreciating the Beauty of Traditional Chinese Architecture==
+
==期末论文==
 +
===Korean Janggu Dance===
  
−
===Formation and Development===
+
◦ ====Origin and Development====
 +
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
  
−
Hui-style architecture, namely Huizhou architecture, marks one of the representative elements of ancient Huizhou and is now predominantly found in provinces such as Jiangxi and Anhui. Its unique style is closely tied to the local Huizhou merchant culture and the distinctive natural environment. The origins of Huizhou architecture can be traced back to the Southern Song Dynasty. With the imperial court’s relocation to Lin’an (present-day Hangzhou) and large-scale construction of palaces, gardens, and other structures, it not only spurred Huizhou merchants to engage in industries such as timber, bamboo, and lacquerware but also nurtured a group of skilled artisans from Huizhou. From the mid-Ming Dynasty onward, with the rise of the Huizhou merchant class and the prosperity of Huizhou’s economy, Huizhou-style gardens and residential architecture entered a phase of rapid development. After achieving wealth, Huizhou merchants, seeking to glorify their families and display their prosperity, invested heavily in constructing luxurious residences, exquisite gardens, academies, and ancestral halls while acquiring extensive farmland. Not only were they adept in business, but they also actively associated with literati and scholars, continuously enhancing their cultural refinement. Gradually, they infused their personal aesthetic tastes and ideals into architectural designs, thereby propelling Huizhou architecture toward maturity and forming a distinctive stylistic system. Furthermore, the development of Huizhou architecture was influenced by the geographical environment. The ancient Huizhou region was largely mountainous and hilly, often described as a saying that it is a region of eight-tenths mountains, one-tenth water, and one-tenth arable land. To preserve the precious plains for cultivation, residential plots were often narrow and sloped, leading to tightly clustered buildings with vertical expansion. As the structures of local buildings were predominantly wooden, they were highly susceptible to fires so that fire-proof walls (horse-head walls) were created. These stepped, towering walls effectively isolated fires and became the most striking external feature of Huizhou architecture.
+
◦ ====Introduction====
 +
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
 +
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
 +
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
 +
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
 +
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
  
−
===Architectural Features===
+
◦ ====Dance Characteristics====
 +
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
 +
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
 +
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
  
−
====The Coexistence of Aesthetic and Practical Value====
+
◦ ====Cultural Value====
 +
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
  
−
The layout of Huizhou-style architecture follows the natural terrain, harmonizing the buildings with their surroundings. Traditional Huizhou architecture includes Pailou ( decorated archways), ancestral halls, and residential buildings, with the following analysis focusing on residential features.
+
◦ ====Inheritance and Protection====
 +
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
 +
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
  
 +
===References===
 +
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
 +
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
 +
▪ China National Cultural Resource Network, Janggu Dance.
  
−
=====From the Perspective of Exterior and Layout Characteristics=====
+
===Words and Expressions===
−
 
+
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
−
====== White Walls and Black Tiles======
+
独舞 solo dance
−
 
+
双人舞 duet dance
−
"Black tiles and white walls" essentially capture the two defining color tones of Huizhou architecture—a interplay of dark and light, most characteristically expressed in shades of black and white. (Ji Zhongyang, ed.; Zhu Zhiping, Zhu Huijie, auth., 2021) The towering white horse-head walls stand in elegant contrast to the bluish-black roof tiles. Nestled within the Jiangnan watertown, this palette harmonizes perfectly with the surrounding hills and waters, composing a fresh and understated ink-wash panorama. The lime-washed walls serve the practical purposes of damp-proofing and pest resistance, while the dark tiles are valued for their durability and ability to conceal wear. Thus, the choice of materials is both economical and functional, crafting the ethereal, poetic aesthetic of a traditional Chinese painting.
+
群舞 group dance
−
 
+
对打起舞 dual-play dance with drum beats
−
======Horse-Head Walls======
+
扭、弹、矮、稳 twisting, springing, squatting, steadying
−
 
+
闪转旋跃 dodging, turning, spinning and leaping
−
Also known as a fire-sealing wall, it is constructed by raising the gable walls several feet above the eaves, following the slope of the roof to form a stepped or curved profile. (Xiong Jing, auth.; Wang Yuguang, ed.; Xiong Jing, Wu Yonggui, associate eds., 2024) Its original primary function was fire prevention, which later evolved into an iconic symbol of Huizhou architecture. The staggered arrangement of these walls creates a strong sense of rhythm and visual impact.
+
鹊雀步 magpie step
−
 
+
垫步 shuffle step
−
=====From the Perspective of Structure and Spatial Characteristics=====
 
−
 
 
−
======Courtyard Layout Centered Around the Skywell======
 
−
 
 
−
All main rooms open towards the internal courtyard, forming a centripetal family communal space that strengthens familial cohesion and privacy, while presenting an enclosed and defensive facade to the outside with high walls. The courtyard also serves as a practical climate regulation system; residences with high walls and small windows rely on the courtyard to draw ventilation, creating air convection and moderating the microclimate. For merchants, who often feared the outward flow of wealth, the courtyard allows rainwater from the roof ridges to flow inward, a feature known as "Four Waters Returning to the Hall," symbolizing the auspicious notion of retaining wealth within the household. (Li Donghai, Zhang Guangbin, 2024) The courtyard design also embodies aesthetic value. It acts as a viewfinder of nature scenes which can capture shadows of eaves and windows cast onto white walls and stone slabs with changing sunlight and moonlight, creating a dynamic interplay of light and shadow. The interconnected front and rear courtyards in traditional dwellings produce a visual experience of shifting scenes with every step, akin to unrolling a long scroll with subtle and varied views.
 
−
 
 
−
======Gate Towers======
 
−
 
 
−
As prominent structures above the entrance, gate towers reinforce the stability and defense of the doorway. It is highly practical that their extended eaves provide shelter for the entrance area, proof rain and offer shade in summer. Moreover, the towering gate towers demarcate private spaces within closely packed buildings, with their form and scale directly reflecting the owner’s social status and economic standing. The exquisite carvings on gate towers are richly detailed, creating a striking contrast with the simplicity of the white walls and black tiles which is an aesthetic interplay of minimalism and intricacy.
 
−
 
 
−
====The Coexistence of cultural and historical Value====
 
−
 
 
−
Huizhou architecture is not merely a place for dwelling but also a carrier of spiritual and cultural significance, imbuing it with profound cultural value. In residential buildings, the skywell serves as the center with the main hall as the axis. And rooms are allocated according to age and gender, reflecting Confucian family ethics such as "order between elders and juniors" and "distinction between inner and outer." The style of Huizhou architecture is deeply influenced by Neo-Confucianism: the exterior features white walls and black tiles, with decorations balanced in complexity and simple colors, embodying values such as stealth wealth and the Golden Mean. Huizhou architecture is also heavily influenced by feng shui principles. In village sites, the ideal model is backing onto mountains and facing water, embracing yin and yang, which is  seen in the ox-shaped water system design of Hongcun. This not only meets daily and fire prevention needs but also symbolizes prosperity and endless wealth. In summary, Huizhou architectural culture is deeply shaped by feng shui, Confucianism, and Huizhou merchant culture, integrating these elements into the buildings to form unique cultural symbols. Huizhou architecture emphasizes the harmonious coexistence of humans and nature. Buildings are situated near mountains and water, adapting to the terrain to minimize environmental alteration, reflecting the philosophy of unity between heaven and humanity. At the same time, Huizhou architecture also recounts a unique history of the rise and fall of Huizhou merchant culture. The scale and decorative level of its buildings directly reflect changes in the financial strength of Huizhou merchants. During the mid-Ming period, as their wealth began to accumulate, buildings were modest in scale with a simple and restrained decorative style. By the mid to late Qing dynasty, the salt and tea trades had brought enormous wealth, leading architecture into a phase of grandiosity and extravagant ornamentation. From the late Qing to the Republican era, with reforms in the salt administration, warfare, and shifts in economic centers, the financial power of Huizhou merchants declined sharply. The scale of newly built residences shrank significantly, decorations were simplified or even omitted, and some grand mansions were subdivided, sold off, or left with their original carvings neglected. This vividly reflects the overall economic downturn of the Huizhou merchant class. Therefore, Huizhou architecture is indispensable in the study of China’s economic and cultural history as a material archive.
 
−
 
 
−
===Typical Huizhou Architecture===
 
−
 
 
−
Hongcun is known as the "village in the Chinese painting." Established during the Southern Song Dynasty, it preserves 137 ancient buildings from the Ming and Qing dynasties. Its most distinctive feature lies in its ingenious "ox-shaped" layout: Mount Leigang to the east serves as the ox’s head, with towering ancient trees representing its horns; the famous Moon Pond is the ox’s small stomach; the water channels diverting water into the village act as the intestines; the South Lake, an artificial lake to the south, forms the ox’s stomach; wooden bridges in the west stand for the legs; and the village’s dwellings make up the body. (Shanghai Documentary Channel, 2014) This artificial water system not only addresses firefighting, water supply, and drainage but also forms the dynamic core of the village’s landscape. The architecture features typical Huizhou-style design among Chengzhi Hall which was built by a salt merchant in the late Qing Dynasty. It is renowned for its grand scale and exquisite wood carvings, calling it the " Folk Forbidden City." For those famous architecture, Hongcun and Xidi are listed as a UNESCO World Heritage site in 2000.
 
−
 
 
−
===Summary===
 
−
 
 
−
Huizhou architecture also documents the socio-economic conditions and cultural ideologies of the Huizhou region, holding significant historical value. In the future, it  will not only be preserved as a testament to history but will also continue to play an irreplaceable role as cultural heritage in the new era. （Lou Zhongxia 2023）The Hui culture represented by Huizhou architecture has had a profound influence, and thus the inheritance and development of Hui culture rely on the support and promotion of Hui-style architecture. So Huizhou architecture and Hui culture are deeply intertwined and mutually reinforcing, together forming a treasure within the cultural treasury of China. In the era of economic globalization, Huizhou architecture will undoubtedly break new life back into culture through international cultural exchanges.
 
−
 
 
−
===Terms and Expressions===
 
−
 
 
−
Pailou (decorated archways) 牌楼
 
−
 
 
−
Gate tower 门楼
 
−
 
 
−
Skywell 天井
 
−
 
 
−
Horse-head Walls 马头墙
 
−
 
 
−
White Walls and Black Tiles 粉墙黛瓦
 
−
 
 
−
Four Waters Return to the Hall四水归堂
 
  
 
===Questions===
 
===Questions===
−
 
+
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
−
1.What are the external characteristics of Huizhou architecture?
+
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
−
 
+
3.What are the two categories of performance styles of the Korean Janggu Dance?
−
2.Where is Huizhou architecture distributed today?
+
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
−
 
+
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?
−
3.What is the value of Huizhou architecture?
 
−
 
 
−
4.What is the architectural ingenuity of Hongcun's Huizhou buildings?
 
  
 
===Answers===
 
===Answers===
 +
1.Originated from the narrow-waisted drum of India.
 +
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
 +
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
 +
4.Jin Douchang.
 +
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
 +
===朝鲜族长鼓舞===
  
−
1.White Walls and Black Tiles and Horse-Head Walls
+
◦ ====朝鲜族长鼓舞的起源发展====
−
 
+
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
−
2.Jiangxi and Anhui Provinces
+
◦ ====介绍====
−
 
+
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
−
3.Aesthetic, Practical, Cultural and Economic Value
+
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
−
 
+
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
−
4.Ox-shaped Layout
+
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
−
 
+
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
−
===Reference===
 
−
 
 
−
[1] 季中杨主编；朱志平，朱慧劫著. 决胜小康 探索乡村振兴之路宅坦村卷[M]. 2021
 
−
 
 
−
[2] 熊静著；王余光主编；熊静，吾永贵副主编. 中国图书馆学史 第五卷[M]. 2024
 
−
 
−
[3] 李东海，张广斌．徽州历史人物与徽州文化[M]. 2024
 
  
−
[4] 上海纪实频道. 山中的乾坤. 2014
+
◦ ==== 舞蹈特色====
 +
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
 +
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
 +
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
  
−
[5] 罗中霞．徽派建筑艺术风韵及传承再生研究[M]. 2023
+
◦ ====舞蹈特色====
 +
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）
  
−
==徽派建筑—欣赏中国传统建筑之美==
+
◦ ====传承与保护====
 +
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
 +
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
  
−
===形成与发展===
+
===术语===
−
 
+
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
−
徽派建筑又称徽州建筑，是古徽州的代表性元素之一，现多分布于江西，安徽等省。徽派建筑能够独具一格与当地徽商文化以及独特的自然环境密切相关。徽派建筑的源头可追溯至南宋时期。随着朝廷迁都临安（今杭州），宫殿、园林等大规模兴建，不仅带动了徽州商人从事木材、竹材、漆器等相关产业，也培养出了一批技艺娴熟的徽州工匠。明代中叶以后，伴随徽商群体的崛起与徽州社会经济的繁荣，徽派园林与宅第建筑进入了迅速发展阶段。徽商致富后，为光耀门楣、彰显财力，在广置田产的同时，大力兴建豪华宅邸、精巧园林、书院及宗祠等建筑。他们不仅在商业上经营有方，还广泛结交文人雅士，不断提升自身的文化修养，逐渐将个人的审美与理念融入建筑之中，从而推动徽派建筑逐步走向成熟，形成独具特色的风格体系。再者，徽派建筑的发展受地理环境的影响，古徽州地区多以山地和丘陵为主，素有八山一水一分田的说法。为了节约珍贵的平原地区用于耕作，这就导致了住宅基地多为狭窄有起伏的山坡，使得房屋之间紧密相连，纵向发展。且房屋多为木质结构，极易发生火灾。因此，封火墙（马头墙）又被创造出来，利用其阶梯状的高耸墙体来有效隔绝火势，形成了徽派建筑独具一格的风格。
+
独舞 solo dance
−
 
+
双人舞  duet dance
−
===建筑特点===
+
群舞 group dance
−
 
+
对打起舞 dual-play dance with drum beats
−
====美学价值与实用价值共存====
+
扭、弹、矮、稳 twisting, springing, squatting, steadying
−
 
+
闪转旋跃 dodging, turning, spinning and leaping
−
徽派建筑的布局特征都顺应自然地貌的走势，使得建筑与自然之间更加协调。传统的徽派建筑分为牌楼，祠堂以及民居，接下来集中分析的是民居的特点。
+
鹊雀步 magpie step
−
 
+
垫步 shuffle step
−
=====从外观与布局来看=====
+
三拍系统 triple-beat system
−
 
+
《阿里郎》 Arirang（朝鲜族经典民谣，音译）
−
======粉墙黛瓦======
 
−
 
 
−
青瓦、粉壁实际上是指徽派建筑的两种主要色调是深色和浅色，以黑白居多。（季中杨主编；朱志平，朱慧劫著 2021）白色高耸的马头墙与青黑色的瓦片形成鲜明对比，在这江南水乡之中与山水背景融为一体，构成一幅清新淡雅的山水画卷。石灰墙可防潮防虫，黑色瓦片耐脏耐久，材料的选择既经济实用，又塑造了水墨画般的视觉效果。
 
−
 
 
−
======马头墙======
 
−
 
 
−
又称封火墙，将两际山墙自檐口砌高三数尺，并随屋面斜坡做成阶梯形或其他曲线，（熊静著；王余光主编；熊静，吾永贵副主编 2024）最初主要功能是防火，后演变为徽派建筑的标志性符号。错落有致的排列极具韵律感和视觉冲击力。
 
−
 
 
−
=====从结构与空间概念来看=====
 
−
 
 
−
======以天井为中心的院落布局======
 
−
 
 
−
所有主要房间都朝向内部的天井开放，形成一个向心性的家庭公共空间，强化了家族的内聚力和私密性，对外则表现出高墙的封闭与防御；天井亦是实用气候调节系统，高墙小窗的住宅依赖天井拔风，形成空气对流，调节微气候；经商之人，总怕财源外流，天井使屋脊的雨水顺势纳入天井之中，名曰"四水归堂"，图的是财不外流的吉利。（李东海，张广斌 2024）天井设计也兼具美感，它是建筑捕捉自然的取景框，随时间变化的日光、月光，将屋檐、窗棂的影子投射在白墙与石板上，形成了光影变幻的动态美学；民居的前后天井相互串联，形成了“ 移步换景、层层递进”的视觉体验，如同展开一幅长卷，含蓄而变幻无穷。
 
−
 
 
−
======门楼======
 
−
 
 
−
作为大门上方的重点构筑，它不仅加固了入口结构，增强了稳定性和防御感；而且门楼向前延伸的屋檐，为入口区域提供了遮蔽，方便雨天出入和夏日遮阳，极具实用性。再者，高耸的门楼能够在紧密相连的建筑中界定私人领域，其形制与规模直接昭示着主人的身份地位以及经济实力。门楼上的精美雕饰极具量感，与粉墙黛瓦的朴素相比较，形成了简-繁的极致对比美学。
 
−
 
 
−
====文化与历史价值共存====
 
−
 
 
−
徽派建筑不仅仅是单纯的居住场所，更是精神文化内涵的载体，因而具有极高的文化价值。徽派建筑中的民居以天井为中心，正厅为主轴，房间按长幼、男女分配，体现了儒家“长幼有序、内外有别”的家庭伦理；徽州建筑风格深受新儒学影响：外观为白墙黛瓦，装饰繁简有度，色彩克制，体现“藏富不露”“中庸节制”的价值观；徽派建筑也深受风水学的影响：在村落选址时，遵循“背山面水、负阴抱阳”的理想模式，如宏村“牛形”水系设计，既满足生活与防火需求，也寄托了人丁兴旺、财源不绝的寓意。总之，徽派建筑文化深受风水学、儒家思想、以及徽商文化的影响，并将这些文化元素融入建筑，形成独特的文化标志。徽派建筑强调自然与人的和谐共生，建筑依山傍水，顺应地形，从而减少对环境的改造，体现天人合一的思想。同时，徽派建筑也讲述了一段独特的徽商文化兴衰史。其建筑规模与装饰水平直接反映徽商财力变化。明朝中期财力初兴，建筑规模适中，装饰风格质朴内敛；清朝中后期盐、茶贸易带来巨额财富，建筑进入宏大奢繁阶段；晚清至民国时期，随着盐法改革、战乱与经济重心转移，徽商财力萎缩。建宅院规模锐减，装饰简化甚至省略，部分大宅被分割、转卖，原有雕刻维护停滞，这直观映射了徽商经济的整体下行。所以徽派建筑在中国经济文化史的研究中不可或缺。
 
−
 
 
−
===典型的徽派建筑===
 
−
 
 
−
宏村素有“中国画里的乡村”之美誉。村落始建于南宋，现存明清古建筑137幢。其最独特之处在于精妙的“牛形”村落规划：村东的"雷刚山"为牛头，参天古木为牛角；宏村有名的"月沼"是牛小肚；而引水入村的"水圳"则是牛肠；村南的人工湖"南湖"为牛胃；然后在村西架设木桥，是为牛腿；村子里的宅邸则演化成了牛身。（上海纪实频道 2014）这套人工水系不仅解决了消防、供水与排水问题，也构成了村落灵动的景观核心。村内建筑为典型的徽式风格，其中，清末盐商所建的承志堂规模宏大、木雕精美，被誉为“民间故宫”。2000年，宏村与西递一同被列入世界文化遗产名录。
 
−
 
 
−
===总结===
 
−
 
 
−
微派建筑还记录着徽州的社会经济情况和文化意识形态，具有重要的历史价值。未来，徽派建筑不仅会作为历史的见证得到保存，也会作为文化遗产，在新时期继续发挥其不可替代的作用。（罗中霞 2023）徽派建筑所代表的徽州文化影响深远，因而徽州文化的传承和发展离不开徽派建筑的支持和推动。徽派建筑与徽州文化相互交融、相互促进，共同成为中华文化宝库中的瑰宝。在经济全球化发展的时代，徽派建筑一定能够通过国际文化交流焕发出新的文化活力。
 
  
 
===问题===
 
===问题===
−
 
+
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
−
1.徽派建筑的外观特点有哪些？
+
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
−
 
+
3.朝鲜族长鼓舞的表演风格分为哪两类？
−
2.徽派建筑现今分布在哪些地方？
+
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
−
 
+
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？
−
3.徽派建筑有哪些价值？
 
−
 
 
−
4.宏村的徽派建筑精妙之处在何处？
 
  
 
===答案===
 
===答案===
−
 
+
1.起源于印度的细腰鼓。
−
1.粉墙黛瓦，马头墙
+
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
−
 
+
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
−
2.多分布于江西，安徽等省
+
4.金斗昌。
−
 
+
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。
−
3.美学价值，使用价值，文化价值与经济价值
 
−
 
 
−
4.牛型结构
 
−
 
 
−
===参考文献===
 
−
 
 
−
[1] 季中杨主编；朱志平，朱慧劫著. 决胜小康 探索乡村振兴之路宅坦村卷[M]. 2021
 
−
 
 
−
[2] 熊静著；王余光主编；熊静，吾永贵副主编. 中国图书馆学史 第五卷[M]. 2024
 
−
 
−
[3] 李东海，张广斌．徽州历史人物与徽州文化[M]. 2024
 
−
 
 
−
[4] 上海纪实频道. 山中的乾坤. 2014
 
−
 
 
−
[5] 罗中霞．徽派建筑艺术风韵及传承再生研究[M]. 2023
 

Latest revision as of 03:27, 9 March 2026

Redirect to:

期末论文

Korean Janggu Dance

◦ ====Origin and Development==== The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction==== The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance) In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics==== Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays. Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps. Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value==== From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection==== Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance. Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

References

▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance. ▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance. ▪ China National Cultural Resource Network, Janggu Dance.

Words and Expressions

朝鲜族长鼓Korean Janggu / Korean Hourglass Drum 独舞 solo dance 双人舞 duet dance 群舞 group dance 对打起舞 dual-play dance with drum beats 扭、弹、矮、稳 twisting, springing, squatting, steadying 闪转旋跃 dodging, turning, spinning and leaping 鹊雀步 magpie step 垫步 shuffle step

Questions

1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance? 2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China? 3.What are the two categories of performance styles of the Korean Janggu Dance? 4.Who was the first-generation inheritor of the Korean Janggu Dance skills? 5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

Answers

1.Originated from the narrow-waisted drum of India. 2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. 3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements. 4.Jin Douchang. 5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.

朝鲜族长鼓舞

◦ ====朝鲜族长鼓舞的起源发展==== 长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） ◦ ====介绍==== 朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） 它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） 宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》） 明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） 它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色==== 表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。 动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。 音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色==== 从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护==== 传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。 保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

术语

朝鲜族长鼓Korean Janggu / Korean Hourglass Drum 独舞 solo dance 双人舞 duet dance 群舞 group dance 对打起舞 dual-play dance with drum beats 扭、弹、矮、稳 twisting, springing, squatting, steadying 闪转旋跃 dodging, turning, spinning and leaping 鹊雀步 magpie step 垫步 shuffle step 三拍系统 triple-beat system 《阿里郎》 Arirang（朝鲜族经典民谣，音译）

问题

1.朝鲜族长鼓舞的核心道具长鼓原型是什么？ 2.朝鲜族长鼓舞何时被列入国家级非遗名录？ 3.朝鲜族长鼓舞的表演风格分为哪两类？ 4.朝鲜族长鼓舞的第一代技艺传承人是谁？ 5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

答案

1.起源于印度的细腰鼓。 2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。 3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。 4.金斗昌。 5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Retrieved from "https://bou.de/u/index.php?title=Index.php&oldid=171752"