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二○○三年四月,为了准备中国民间剪纸申报“世界非物质文化遗产”的影像资料,我和中央美院的乔晓光教授来到贵州的苗族聚居区——黔东南的台江县与黔西北的六枝地区。十天的行程倏然而过,清水江边的踩鼓盛装与梭嘎山寨的芦笙箫曲,都成了记载在磁带或胶片上的光影刻痕。回首凝思因历史机缘与生存环境的迥异而异路发展的两支苗裔,身为汉族子孙的我,竟蓦然觉得自已也接驳在同一条文明流转的血脉里,五千年来与他们走在一路,须臾也未曾分开。
In April 2003, in order to prepare the image information of the “World Intangible Cultural Heritage” of the Chinese paper-cut declaration, I and QIAO Xiao-guang from the Central Academy of Fine Arts came to the Miao Communities in Guizhou Province - Six regions in the northwest. However, the ten-day trip, however, had been recorded on tapes or films on light-cut scotch tapes recorded on the drums of the Qingshui River and the Lusheng Xiao-song of the Songga cottage. Looking back at the two branches of myriad ethnic minorities who developed due to the differences in historical opportunity and living environment, as a Han nationality, I suddenly felt that I was connected with the same blood flow of civilization and walked with them for five thousand years All the way, must not have separated.