Research On The Development Of Nuo Mask Art In Xiangxi

Since modern times,the scientific and technological revolution transformed not only traditional pattern of farming society but also the concept of tradition that had been formed hundreds of years ago.As a result,a large number of Chinese excellent traditional cultures,including mask culture,have been thrown into a deep crisis in the process of the high-speed modernization,and the inheritance and development of Nuo mask(a mask wearing in an exorcise)art in Western Hunan is no exception.To resolve the crisis in the development of the ancient and mysterious Nuo mask in Western Hunan and help this mask culture regain its shine,this paper is intended to set up a sound,sustainable and future-oriented new development framework.Based on many texts such as historical records,research achievements of modern experts and scholars,and media reports,this paper makes a comprehensive analysis and research on the origin and development trend of Nuo mask art in Western Hunan,and extracts the important achievements and arguments to form its background;More than 20 field studies and school or ministerial level project research results are supplements to the historical materials for the development of Nuo mask in Western Hunan,by which the author discovered innovative development opportunities,summarized new experience,established the development approaches,and put forward a creative framework based on the present and focusing on the future.And this paper will discuss the following four aspects.First of all,this paper briefly states that the natural ecological environment,ancient myths and legends,social and cultural environment of "ethnic group in Wuxi the Wild Land(Ancient name for Huaihua City of Hunan province)"which shaped people in western Hunan's outlook on life for survival and development and created reverence among all ethnic groups in Western Hunan for nature,gods and ancestors.Among them,the primitive religion and the witchcraft of Chu rhyme have become a source of mask culture,the strange and changeful natural geographical environment has given birth to the people's fantasy of their own life time and space,the economic production mode of hunting or fishing has lead to the spiritual totem worship of all things,and wars and territory expansion in the historical process of "Wuxi the wild land" has brought about the loss of nationality and population migration which formed the"cultural plate drift" effect,all of which nourish the development and change of the mask until today.They have been integrated into the way of spiritual thinking and cultural behavior of people in Western Hunan.They have jointly bred the all ethnic minorities in Western Hunan awe of nature,gods and ancestors,and formed the psychological and cultural acceptance of masks.Secondly,taking the typical area of "cultural plate drift" as the first paradigm and research perspective to investigate the cultural characteristics of the masks in Western Hunan,taking into account both the materials collected in the field,and the distribution and regional characteristics of the Nuo masks,the author determined the Western Hunan Tujia and Miao Autonomous Prefecture and Huaihua counties as the typical areas.The author mainly focused on analyzing national characteristics represented by the external image and internal aesthetic awareness of the Nuo masks and placed the Nuo mask in the local society and the cultural ecology of the Nuo performance.The inherent cultural characteristics of "the unity of man and gods" are interlaced in the space-time field of the makers,the users and the viewers of the mask.In the form of performance satisfied by gods and man,the Nuo mask is displayed in the name of gods and the face of gods with human nature,which highlights the national cultural characteristics of "the unity of man and nature" projected by the Nuo masks.People put the cultural tradition of advocating life and "the unity of man and nature" into the mask,so as to show the complicated relationship between the Western Hunan people's concept world,living world and spiritual world.Thirdly,based on the background above,combined with the field practice,the author takes the performances of Nuo mask entertaining gods and people as the second paradigm to study the national characteristics of Nuo mask art in Western Hunan.First,the use of Nuo masks or masks in different occasions in various forms of folk performance,such as "Chenzhou Nuo","Dongdong push","gang bodhisattva",and "Yangxi","Gaoqiang",etc.Secondly,this paper analyzes the form,function and connotation of the masks of Nuo performance in Western Hunan one by one,and constructs the expression form with "performance" as the feature under the concept of "life and growth".The third is to carry on the eternal theme of "reproduction","survival" and "development" from the following two points.1.In the west of Hunan,the fear of nature,gods and ancestors of "Wuxi the Wild Land ethnic group" gave birth to their inborn psychological and cultural acceptance of masks,generated mysterious,grotesque and simple important cultural genes and mask images where the aesthetic consciousness of the ethnic minorities in Western Hunan with survival and development as the theme was released,produced the connotations of the "survival and reproduction","sending the old to welcome the new","self-development","self expansion" and other better-offs,from which the concept and meaning of "life and growth" in art of the Nuo mask is transferred from the thick historical and cultural accumulation.2.Released from symbiosis between the concept world,the living world and the spiritual world,the Nuo mask art,in the accumulation of history and culture,presents the understanding of "the meaning of life",the discussion of "the philosophy of life" and the perception of "the beauty of life".This constitutes the eternity of the concept and meaning of "life and growth",and vitalizes the strong artistic life charm of Nuo mask with its endless growth.Finally,the discussion of the construction of Nuo mask's development field and the development state of diverse cultural creativity is divided into three parts.1.Based on the author's research findings in special scientific research projects,this paper discusses the field construction of Nuo mask art development in the process of modern civilization brought up by science and technology,in which the people of all ethnic groups in Western Hunan will inherit the tradition and seek survival and development.It also discusses the unique cultural gene and artistic charm of Nuo mask,which can be used to promote the development of Nuo mask art in Western Hunan in the field of cultural tourism integration,and reconstruct creative charming-era economy.2.This paper puts forward the cultural gene,life charm,expression form and element characteristics of Nuo mask to promote the protection and practice of the intangible cultural heritage of Nuo mask art,so as to resolve the "profound crisis of the development of Nuo mask art in Western Hunan".3.By analyzing the permanence of "three types"artistic life charm produced by "re-mixing and innovation",this paper analyzes that it provides a unique spiritual and material enjoyment for the ancient people,and expounds that it makes the mask become a new style of cultural existence,a new social content,and finally integrate into the current society and life,and even melt into the blood of the nation for continuous circulation and renewal."The reproduction of traditional culture "not only can promote the regional cultural creativity and economic development,but also has the possibility and feasibility in the future development path so that we can see the future development prospects.Finally,it endows the art of Nuo mask with profound significance and eternal new appearance,which also explains people's spiritual and material needs in the new era and even in the future.Based on the "four levels" and five key points,this paper tries to take Nuo mask,which is rooted in the cultural soil of Western Hunan,as a valuable folk art and cultural resource that can be protected,exploited,utilized and passed on.It shows the logic of innovation and development from the perspective of emphasizing "the past" and "the present" and "the future",and finally forms the overall study of Nuo mask art in the Western Hunan minority area.Thus,the formation will give the Western Hunan mask culture new influence,cohesion,appeal and vitality of art development,which can be placed in-depth case study of traditional folk art,provide new ideas for the protection of intangible cultural heritage and "face culture reproduction" in the context of creative economy era,and also can be used to build the Chinese ethnic art and China art research with the text that can be used for reference,which can also be used to promote the rejuvenation of traditional national culture based on the "localization" and"nationalization" of folk art,and then promote the integration of traditional culture and contemporary culture,and even promote the promotion of the soft power of Chinese culture in the international community.