试论舞蹈《水墨孤鹤》中鹤形象的艺术特征
摘要
鹤是鸟类中一种涉禽，有这长嘴，长颈和长腿。成鸟后除了颈部和飞羽的后端为黑色毛外，全身都是洁白的。传说中的仙鹤就是“丹顶鹤”，它生活在沼泽地带或者是潜水的地带的一种大型涉禽，常被人冠于“湿地之神”的美丽称号。它与生长在高山丘陵当中的松树一点关系都没有。但是由于丹顶鹤的寿命长达50--60年，所以人们常常会把它和松树绘在一起，作为长寿的象征。东南亚地区的居民用丹顶鹤象征着幸福，吉祥，长寿和忠洁。在各国的文学美术作品中屡有出现，在殷商时代的葬墓中，就有鹤的形象出现在雕塑中，春秋战国时期的青铜器中，鹤体造型的礼器就已经出现。道教中丹顶鹤的飘逸的形象已经成为长寿，成仙的象征。
是舞蹈欣赏中被感知认识的主要对象和体现舞蹈艺术审美作用的主体，是由人体的动作、姿态和造型，借助于音乐、道具、服装、化妆等其他艺术因素构成的舞蹈思维的产物。
舞蹈演员在对事物形象进行舞蹈创造的过程中，伴随着及其丰富的心理现象，比如感觉、知觉、想象、情感等，都会在舞蹈演员在创造舞蹈形象的过程中起着重要的作用。舞蹈演员通过认识，观察和体最根本的原因是在于“移情”。而所谓的“移情”就是把我们人的美感“外射”到事物的身上去，使感情变成了事物本身的属性，达到物与我的同一境界。也就是说把我们人的感觉和情感还有意志转到外在于我们的事物里去，使原来就没有生命的东西仿佛瞬间有了感觉、思想、活动和情感意志，产生了物与我的同一境界。“移情说”侧重主要讲的是，由物及我的一面，把审美主体的情感通过移情的作用，外移到审美的对象上去。
关键词：水墨孤鹤；艺术特征；舞蹈；
Abstract
A crane is a kind of SheQin birds, have the beak, long neck and long legs. After a bird except the neck and flight feather back-end for black hair outside, the whole body is white. The legendary crane is \cranes,\it lives in marshes or diving zone of a large SheQin, people often champions in \god\beautiful title. It and growth in the mountains of pine hill has nothing. But because the red-crowned cranes to live as long as 50-60 years, so people will often take it and pine draw together, as a symbol of longevity. Southeast Asia's residents symbol of happiness with cranes, auspicious, longevity and loyal clean. Among the countries in the works of fine arts has repeatedly literature appear, in the age of the YanShang buried in the grave, the crane appearance in sculpture, spring and autumn and warring states period bronzes, crane body modelling sacrificial vessel had appeared. In the elegant Taoism red-crowned cranes image has become longevity, the symbol of immortality.
Dancing is appreciation is the main objects of sensation understanding and reflect the dance art aesthetic effect of the main body, by the action of the human body is, posture, and modelling, with the aid of music, props, clothing, makeup and other art factors dance the product of thinking.
Dancers to things in the process of creating dance image, along with the psychological phenomenon and its rich, such as feeling, perception, imagination and emotion and, can be in a dancer in the process of creating dance image plays an important role. Dancer through the understanding, observation and body is the fundamental reason why is that \The so-called \is our aesthetic feeling \shot\to the body of the things go, and become the thing itself feelings attribute, achieve the same thing and I border. That is our people the feeling and emotional and will turn to outside of the things is that we go to the original you have no life things as if flash the feelings, thoughts, activities and emotional will, produce content with my same realm. \side by, the aesthetic subject emotion through the role of empathy, offshoring to
aesthetic objects up.
Keywords: ink solitary cranes; Art characteristic; Dance;
目录
摘要........................................................................................................................ 2 Abstract .................................................................................................................. 3 第一章 绪论.......................................................................................................... 6
1.1选题背景与意义..................................................................................... 6 1.2 研究的现状............................................................................................. 6 第二章 “造型法”对《水墨孤鹤》中“鹤”形象的扑捉.............................. 7
2.1“鹤”形象的特征.................................................................................. 7 2.2舞蹈演员对《水墨孤鹤》中“鹤”形象的心理体验.......................... 9 2.3舞蹈演员对《水墨孤鹤》中“鹤”形象的肢体实践........................ 10 2.4本章小结................................................................................................ 12 第三章 舞蹈剧目《水墨孤鹤》中“鹤”形象的艺术特征............................ 12
3.1“以鹤传情”的抒情性......................................................................... 12 3.2“动静结合”的韵律性......................................................................... 13
3.2.1 通过舞姿流动的线来展示深层次的舞蹈意蕴........................ 13 3.2.2 动作上的子午阴阳.................................................................... 13 3.2.3 形止神不止的延展之韵............................................................ 14 3.3 服装造型对“鹤”形象的烘托................................................... 15 3.4本章小结................................................................................................ 16 致谢...................................................................................................................... 17 参考文献.............................................................................................................. 18
试论舞蹈《水墨孤鹤》中鹤形象的艺术特征
