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随着时代的不断发展,人民群众的生活水平及审美意识有所提高。以审美人类学为角度可以看出,羌族文化中歌舞的主要来源是,为女性特定的传承空间与接领空间进行表述。而对于歌舞的接领空间与时间而言,歌舞得以依赖于发展的主要依据为某个具体村落中特有的高山或者森林,这种特有的地区地域被誉为女神梁子。在藏族、羌族以及彝族的走廊中,羌族女性需要上女神梁子来为女神的歌舞技巧进行专门接领,并定期在村落内举行接领仪式,该种仪式是我国的非物质文化遗产之一。接领歌舞文化,明确指向了人类的双重美,即在社会领域中女性所占据的主体美以及种族群落中歌舞的崇高美。而女性文化空间随着时代的变迁与发展,呈现出飘移美的趋势,并逐渐开拓与延伸。基于此,本文就以羌族女性上女神梁子接领歌舞文化为例,对藏羌彝走廊中女性文化空间飘逸美的确立与指向展开深入的研究与分析。
With the continuous development of the times, the people’s living standard and aesthetic awareness have been raised. From the perspective of aesthetic anthropology, it can be seen that the main source of song and dance in Qiang culture is to express the specific inheritance and take-up space of women. As for space and time for the song and dance, the main basis for the development of song and dance is the unique mountain or forest in a specific village, which is known as the goddess. In the corridors of Tibetans, Qiangs and Yi people, women of Qiang nationality need goddess Liangzi to specially take over the goddess’s singing and dancing skills, and hold regular reception ceremonies in the village, which is one of the intangible cultural heritage of our country. Taking the lead in the culture of song and dance, it clearly points to the dual beauty of mankind, that is, the main beauty occupied by women in the social field and the sublime beauty of song and dance in ethnic communities. However, with the change and development of the times, the female cultural space has shown the trend of shifting to the United States and gradually opened up and extended. Based on this, this article takes Qiang female goddess Liangzi took the lead song and dance culture as an example to deeply study and analyze the establishment and pointing of the beauty of female culture in Tibetan and Qiang Yi Corridor.