《舞论》的手势表演论及其历史影响

婆罗多的《舞论》是印度古代著名的梵语文艺理论名著,它的三种手势论内容丰富,具有深远的历史影响和外部辐射力.婆罗多的手势论不仅影响了后人的舞蹈艺术理论,还对印度传统的各派古典舞蹈产生了深远的影响.这些古典舞包括印度当代舞蹈艺术家仍在不断表演的婆罗多舞、卡塔卡利舞、卡塔克舞、奥迪西舞、曼尼普利舞和库契普迪舞等.手势不仅存在于舞蹈表演中,也存在于宗教仪式中;它不仅存在于印度教仪式中,还存在于佛教仪式中,后者更为世人尤其是中国的佛教学者所知.文章介绍了《舞论》的手势论,以及手势论对印度古典梵语乐舞论著和各派古典舞蹈的深远影响,最后对《舞论》手势论与各种宗教手印论进行简略比较.总之,《舞论》的手势表演论是印度古典艺术理论宝库的一笔财富,也为拓展新时期中印人文交流的艺术渠道或文化空间提供了难得的契机.婆罗多对于各种舞蹈手势的思考,对构建中国特色的舞蹈理论体系提供了有益参考.

On Hastabhinaya in Natyasastra and Its Historical Influences

The Natyasastra by Bharata is an ancient Sanskrit masterpiece on dance,music and theatre.This paper attempts to analyse 3 kinds of hastabhinayas of the book and its historical influences and tries to have a comparative study between Natyasastra’s Hastabhinaya and the Mudras in the Tantra and Buddhist texts.In fact,Bharata’s theories on Hastabhinaya or Mudras had historically significant influence on such Indian dances as Bharatanatya,Kathakali,Kathaka,Odissi,and the religious texts and arts were also exposed to his theories.Furthermore,some carved sculptures of 108 Karanas in the Hindu Temple in Indonesia saw the light of the day,which shows that Bharata’s hastas or mudras are the common dance codes of India and the rest of the world.