<p class="ql-block">前 言 </p><p class="ql-block">中国民族汉族汉 </p><p class="ql-block">面具，作为一种独特的文化现象，跨越了时空的界限，在世界各地开枝散叶。它历史悠久，拥有相对独立的发展轨迹，从诞生之初便与人类的生活紧密相连。在漫长的历史长河中，面具广泛应用于祭祀、战争、丧葬、狩猎、生产、歌舞等诸多领域，承载着人们对长寿、平安与富足的美好祈愿。由于地域的差异和审美观念的不同，面具在材质选择与装饰手法上丰富多样、各放异彩，这使它不仅是一件艺术作品，更是民俗学、民族学、历史学、宗教学、工艺美术学、戏剧舞蹈学等多学科研究的珍贵对象，成为人类文明交流互鉴的重要桥梁。 </p><p class="ql-block">中国，是世界上使用面具历史最为悠久的国家之一。其面具文化源远流长，萌芽于新石器时代，商周时期在傩仪中扮演重要角色，宋代以后逐渐走向世俗化，在傩戏中广泛应用，并被诸多民间歌舞吸收与传承，留下了众多极具艺术价值的珍品，诉说着华夏大地的历史与文化。 </p><p class="ql-block">阳春三月，草长莺飞，在这美好的时节里，潍坊市博物馆与“国际面具文化艺术联盟 (IMACO)“携手，共同推出“世界面具文化艺术展”，这无疑是中外文化交流的一场盛宴。此次展览，从“国际面具文化艺术联盟(IMACO)”的丰富藏品中精心遴选了来自五大洲25个国家的400余件具有代表性的面具作品。这些面具跨越山川湖海，带着不同地域的独特风情齐聚于此，希望广大观众能借此机会，领略世界面具艺术的独特魅力与多元风采。 </p><p class="ql-block">Masks, as a unique cultural phenomenon, have transcended temporal and spatial boundaries to flourish across the world. With a long history and relatively independent evolutionary trajectory,masks have been closely linked to human life since their inception.Throughout the ages, they have been regarded as mystical instruments to communicate with the divine and supernatural, ward off evil and misfortune. They have been widely used in various fields,such as sacrifices, wars, funerals, hunting, production, singing and dancing, carrying people's beautiful wishes for longevity, peace and prosperity. </p><p class="ql-block">Due to regional disparities and diverse aesthetic concepts, masks exhibit remarkable diversity in material selection and decorative techniques. This transforms them not only into artistic creations but also into invaluable subjects for multidisciplinary research in folklore, ethnology, history, religion, crafts, drama and dance. As such, masks serve as a vital bridge for cross-cultural exchange and mutual appreciation within human civilization. </p><p class="ql-block">China is one of the countries with the longest history of mask usage in the world. Its mask culture has a long and profound heritage,originating from the Neolithic Age and playing a significant role in Nuo rituals during the Shang and Zhou dynasties. After the Song Dynasty, it gradually became secular and it was widely adopted in Nuo operas and absorbed into various folk songs and dances for inheritance. This cultural legacy has left behind numerous treasures of exceptional artistic value, silently recounting the history and culture of the Chinese land.</p> <p class="ql-block">非洲面具 </p><p class="ql-block">African mask </p><p class="ql-block">非洲面具与宗教和咒术有着密切联系。同时不脱离日常生活，发挥着各自的功能。面具被使用于祈愿丰收的仪式，成年仪式（入学仪式），葬礼仪式，崇拜祖先仪式，治病仪式，战争，命名仪式（新生婴儿），婚礼仪式等。非洲面具以它的活跃性和惊人的几何形状被很多人喜欢。非洲面具具有极度夸张和打破常规的一面。像他们的皮肤颜色，流传的面具大多数都是使用原木的黑色面具。他们的面具虽然咒术性很强，但面具的艺术性影响到了毕加索、马蒂斯、克利等诸多艺术家。给人们引发了不同的想象力和灵感。 </p><p class="ql-block">African art is closely related to religions and magic. At the same time, it does not deviate from daily life, and plays its own function. Masks were used in rituals praying for rich harvests, coming-of-age ceremonies(entrance ceremonies), funeral services, the worship of the ancestor, disease-healing rituals, wars, naming ceremonies (for new-born babies), wedding ceremonies,etc. African art has been loved by many people (African art is very popular) because of its dynamic features,astonishing geometric shapes, and the power of conjuring up spirits. African masks have a reckless and unconventional side. Like their skin color, most of the masks that circulate are black masks that use logs.Although their masks are very magical, the artistic quality of the masks has influenced many artists such as Picasso, Matisse, and Klee. It triggers different imaginations and inspirations.</p> <p class="ql-block">美洲面具 </p><p class="ql-block">American Mask </p><p class="ql-block">在美洲大陆，北美与中美、南美的假面戏在流传上有相当大的对比性。北美原住民的文化在殖民支配和西欧的占领统治下被一步步衰退。只有像食人者戏等极少数的假面戏流传在西北海岸的印第安人的生活中。中美和南美虽然一样受过入侵和殖民统治，但他们依然保存下来了一部分原住民文化，还接受了西班牙的文化，得到了两个文化共同发展的新的局面。很多假面舞和假面戏至今还在流传着，而且流传得很完善。 </p><p class="ql-block"><br></p><p class="ql-block">北美的印第安人中，亚利桑那州东中部的白山阿帕切人和西北海岸地区的部族还流传着面具和面具舞，但流传下来的假面戏是罕见的。中美、南美的假面戏中原住民流传下来的假面戏与因受殖民统治而流传下来的西班牙假面戏占的比重大。在墨西哥，危地马拉，玻利维亚等地，举行各种祝祭仪式时，很多假面舞团体参加，其中墨西哥代表性假面戏老虎舞和Moor人和基督教人的舞特别瞩目，很有名声。 </p><p class="ql-block"><br></p><p class="ql-block">In the American continents, the pattern of mask play traditions is quite contrastive between North America and Central and South America. In North America,natives's culture repeated declination under western people's occupation and colonialism, but in central and South America, it was preserved to some degree despite Spain's invasion and colonialism and was mixed with Spanish culture imported. </p><p class="ql-block"><br></p><p class="ql-block">Among North America Indians, White Mountain Apache and tribes in northwestern coastal regions are maintaining their masks and mask dances but only a small number of mask plays including ' Hamatsa's play's performed by Indians in the northwestern coast. In Central and South America, many mask dances and mask plays handed down. In many cases natives'spontaneous mask plays co-exist with those imported from Spain. Many mas dance teams participate in festivals in Mexico, Guatemala, Volivia, etc.Particularly' Tiger Dance' and ' the Dance of Moors and Christians' are famous as mask dances representing Mexico.</p> <p class="ql-block">欧洲面具 </p><p class="ql-block">European Mask </p><p class="ql-block">在欧洲，远在古希腊的悲剧里已经使用过面具。早在现公元前1世纪，意大利就有“Atellana”的讽刺性假面戏。中世纪的欧洲，天主教四旬节之前有过狂欢节。在狂欢节期间，人们可以摆脱日常规章和制度，并疯狂游行。现在法国尼斯狂欢节，西班牙的狂欢节，意大利威尼斯狂欢节、Ivrea橙战，德国科隆狂欢节，比利时的狂欢节等很多节庆中都仍然使用面具。 </p><p class="ql-block">In Europe, masks were used as far back as in the tragedies of ancient Greece. There was a humorous mask called ' Atellana' in Italy in the first century B. C. In Europe in the Middle Ages, people had a carnival before the Lent of the Catholic Church. In medieval Europe, the Carnival preceding the Catholic season of Lent originated from the Latin term carnelevare - combining carne (meat)and levare (to remove) - symbolizing the act of" removing meat. " Some interpretations also suggest the phrase meant " farewell to meat, " reflecting the abstinence from meat during Lent. During Carnival,people cast off daily norms and restrictions through raucous parades and revelry. Iconic traditions such as grand masquerade balls and satirical theatrical performances originated from this era. Notable celebrations include France's Carnival of Nice, Spain's vibrant carnivals, Italy's Venetian Carnival, the Battle of the Oranges in Ivrea, Germany's Cologne Carnival, and Belgium's eclectic Carnival traditions. </p><p class="ql-block">nova 11</p> <p class="ql-block">大洋洲面具 </p><p class="ql-block">Oceania Mask </p><p class="ql-block">大洋洲面具主要分布在美拉尼西亚，尤其是在巴布亚新几内亚的塞皮克河举行的葬礼式，成人式，丰裕祈愿祭礼等活动中使用。此外还有装饰用面具。美拉尼西亚的面具一般与先祖崇拜，图腾崇拜有着深远联系。在塞皮克河地区的祖灵面具的原形中有许多被认为是用死去的人的头盖骨碎片装饰的。同时，在成人式中使用的祖灵面具，通常作为考验年青人不畏恐惧的手段。一般来说，美拉尼西亚面具的构造类似于非洲面具，针对鼻子，嘴部，头部等部位加以夸张处理，装饰着色彩艳丽的纹样，魅力十足。 </p><p class="ql-block">In Oceania, masks are found mainly in Melanesia. In particular, masks are used in funerals, coming of age celebrations, abundance ritual, etc. in the basin the Sepik river in the Papua New Guinea. Besides, there are masks for decoration. Melanesian masks are used by mask associations generally in relation to ancestor worship and totem worship. some of ancestor spirit masks in the basin of the Sepik river are believed to have pieces of the skull of dead persons. In addition, some ancestor spirit masks are used in coming of age celebrations, intending to terrify boys with ordeals.Structurally, Melanesian masks resemble African masks,featuring exaggerated depictions of noses, mouths, and heads, adorned with vibrant, intricate patterns that exude a striking visual allure.</p> <p class="ql-block">亚洲面具 </p><p class="ql-block">Asian Mask </p><p class="ql-block">亚洲人的精神上的充裕是与根深蒂固的宗教和习俗有关。据统计，中国西藏和尼泊尔地区人的精神满足度是世界上最高的。无论生活在资源丰富的印度尼西亚还是生活在贫瘠的喜马拉雅山脚，人们对自然的谦虚和超脱是一样的。处在只能依赖于神的恶劣的环境中，却不屈不挠克服种种困难，享受人间之美，可称为亚洲人的共性。以人的能力力所不及的领域，遇上超自然的解不开的难题的时候，往往有神存在。人们制作各种神的形象的面具，崇拜他们，为他们举行祭祀仪式。 </p><p class="ql-block">这些面具成了各民族的传统文化，并一直传承到了当代。 </p><p class="ql-block">Asians' spiritual composure is ingrained in their religions and customs. They say that the sentimental satisfaction of Tibetans and Nepalese is highest in the world. Those who live with rich resources on Indonesia and those who live in at the barren foot of the Himalayas are both humble before nature and aloof from the world. It is the homogeneous nature of all Asians to get over difficulties by relying on gods and to pursue humane virtue even if they are in poor surroundings. There have always been gods where man is helpless, where there are insoluble supernatural difficulties, and where it is greatly desired to solve these difficulties. These masks became the traditional culture of nations and have been handed down to the contemporary generation. </p><p class="ql-block">These masks became the traditional culture of nations and have been handed down to the contemporary generation.</p> <p class="ql-block">不丹面具 Bhutan Mask </p><p class="ql-block">不丹人认为观看神圣的宗教面具舞本身就可以摆脱世俗得到自由的。神圣的面具舞起源于佛教，演员穿上有华丽装饰的丝绸锦缎，戴着圣人、护法神、传奇人物和动物形象的面具。伴随着有钹、鼓、大小型的号角和海螺、铃铛声的音乐而翩翩起舞。 </p><p class="ql-block">The Bhutanese believe that simply witnessing sacred religious mask dances can liberate individuals from worldly attachments and bestow spiritual freedom. The origin of the sacred mask dances lies in Buddhist traditions, Performers don intricately embroidered silk robes and masks depicting saints, guardian deities, legendary figures,and animal forms.Accompanied by the music of cymbals, drums, large and small horns, conches,and bells.</p> <p class="ql-block">印度尼西亚面具 Indonesian Mask </p><p class="ql-block">在印度尼西亚，面具舞起着非常重要的作用，用来帮助保持传统，宗教和历史。印尼群岛的面具，像巴厘岛，Java和Lombok都有不同类型的面具与文化意义。象征着人、神、恶魔等更多的内容。最著名的面具舞是Rangda和Barong.这种传统舞蹈，通常为游客而表演。Rangda代表邪恶，Barong代表善良。帮助生活中的善与恶之间的和谐。 </p><p class="ql-block">Maskdance plays a very important role in helping to preserve tradition, religion and history in Indonesia. The Indonesian archipelago is home to a rich variety of masks, each with distinct cultural significance across regions such as Bali,Java, and Lombok. These masks teach moral lessons, preserve history, and critique social norms through performance. Amongst the most famous masks used in dance are the Rangda and Barong masks from Bali, In this traditional dance,performed often for tourists, the interaction of Rangda, representing evil, and the Barong,representing good, restores the harmony between the good and evil in life. </p><p class="ql-block">UNESCONGO IMACO</p> <p class="ql-block">菲律宾面具 Philippine Mask </p><p class="ql-block">每年十月份，位于内格罗斯岛西部省首府的巴科洛德市都会迎来为期一周的MassKara节。这个节日的一个显著特点是参与者佩戴的面具，因此Mass-Kara意味着众多微笑的面孔。节日的亮点是街头舞蹈比赛，来自各行各业的人们涌上街头，观看那些戴着五彩斑斓面具的舞者随着拉丁音乐节奏舞动，展示他们的技艺、欢乐、协调和耐力。Mass-Kara这个词来源于"mass"这个词，意思是大众或人群，以及来自西班牙语的“cara”，意思是脸。这个合成词字面上的意思是“众多面孔”。MassKara中的面具象征着巴科洛人的性格，即他们微笑的温暖。 </p><p class="ql-block">In October each year the City of Bacolod, the capital of Negros Occidental province comes alive with the weeklong Mass-Kara festival. A prominent feature of the festival is the mask worn by participants.Mass-Kara thus means a multitude of smiling faces. The festival features a street dance competition where people from all walks of life troop to the streets to see colorfully-masked dancers.gyrating to the rhythm of Latin musical beats in a display of mastery, gaiety, coordination and stamina. Mass-Kara is from the word" Mass" meaning the Mass or crowd and" Kara" from the Spanish word meaning face. The coined word literally means" mass of faces" The mask in Mass-Kara symbolizes the character of the Bacolo that is the warmth of its smile.</p> <p class="ql-block">韩国面具</p> <p class="ql-block">什么叫面具 </p><p class="ql-block">≤3acsajù~ </p><p class="ql-block">面具广泛地分布于世界各地，自原始时代起，作为人们祈求多产、富裕和丰收的一种信仰形态，至今还保存和传承于舞蹈，戏剧，造型等艺术形态中。面具既是伟大的造型艺术品，同时又是反映人类精神文化发展的重要文化遗产。 </p><p class="ql-block">Masks are ubiquitous across cultures. Since ancient times, they have been integral to rituals invoking fertility, prosperity, and bountiful harvests. Today, they endure as vital elements of dance, theater, and visual arts. Masks are great formative art products, at the same time, they are valuable cultural inheritance that shows various sentiments of humanity.</p> <p class="ql-block">面具依据其目的和功能的不同可分为以下类别： </p><p class="ql-block">Masks can be classified into the following categories according to their purposes and function: </p><p class="ql-block">●丰裕祭神仪式面具。面具的咒术功能中最有代表性的就是祈求丰收的祭神仪式。我们知道比起过着狩猎生活的游牧民族，定居生活的农耕民族有更丰富的面具传统。虽然农耕祭神仪礼有多种多样，但是以借助神格和神灵的面具来祈愿丰收的形态还是更加频繁。 </p><p class="ql-block">Abundance ritual mask. The most remarkable magical function of masks is its use for ritual for praying for good harvest. Compared to nomadic peoples who move around for hunting or grazing. agricultural peoples who live a settled life have richer mask traditions. The types of agricultural ritual were quite diverse but many of them used masks to present divinities and spirits for praying for good harvest. </p><p class="ql-block">驱邪面具。面具不仅具有对神圣对象的信仰和崇拜功能，同时还具有对邪恶对象的威胁和震慑功能。为驱邪而制作的面具通常具有非常邪恶的模样。 </p><p class="ql-block">Exorcism mask. Another important frequent magical function of masks is exorcism to expel evil spirits, Masks are used not only for believing in and worshiping sacred beings but also for threatening and expelling evil beings such as evil spirits. Masks used in exorcism have extremely evil appearances. </p><p class="ql-block">●神圣面具。神圣面具指的是放置在寺院或者祠堂中，用于供奉或祭祀使用的面具。 </p><p class="ql-block">Sacred mask. Sacred masks are put in temples or shrines for sacrifice and worshipped. In addition,divinities wearing masks worshipped are also a kind of sacred masks. </p><p class="ql-block">●医术面具。医术面具可分为两种：一种是召唤健康守护神时使用的面具，另一种是驱走带来疾病的恶魔时使用的面具。在驱病魔祭中使用的面具即可视为医术面具的一种。 </p><p class="ql-block">Medical mask. There are two kinds of medical masks.One is masks to call protective powers for bringing health, and the other is those to defeat evil spirits that cause diseases. Masks used in exorcism to heal diseases are a kind of medical masks.</p> <p class="ql-block">战争面具。战争面具有着充满恶意或者足以让敌人胆怯的无比异常的面孔。古代希腊人和罗马人战争中使用的盾牌，盔甲以及头盔上都曾经安装了令人恐惧的面具。 </p><p class="ql-block">War mask. War masks have a malicious appearance or are frightful and grotesque enough to intimidate enemies, Ancient Greeks and Romans used combat shields with a weird mask and their armor and helmets were also ornamented with frightful masks. </p><p class="ql-block">●葬礼面具。葬礼用面具为了保护死者不受恶灵侵害，保护死者的灵魂即使到了阴间也不会消逝，不会惊惶恐惧，阻止着一切破坏原神的不利因素。同时在葬礼中，具有死者再现的功能。 </p><p class="ql-block">Funeral mask. Funeral masks have several functions such as protecting dead persons from evil spirits,preventing the original look from being destroyed so that the souls of dead persons do not wonder endlessly in the other world, and enabling the reappearance of the deceased during funerals. </p><p class="ql-block">●入岁面具。入岁面具是入岁式时，即成人式中使用的面具。成人式中，主要是举行成人仪式的人配戴它。但是，有的地区是已举行过成人式的年轻人配戴这种面具，为了明示已成成人的新角色。 </p><p class="ql-block">Coming-of-Age Masks. These ceremonial masks are worn during coming-of-age rituals to mark adulthood.Typically it is worn by initiates undergoing the rite. However, in some regions, young people who have undergone the coming-of-age ceremony wear this type of mask to signify their new role as adults. </p><p class="ql-block">●狩猎面具。原始时代原始人在时猎时，作为伪装手段使用过的面具。原始人通过模仿动物叫声或者披上动物毛皮，伪装接近要猎取的动物。这种狩猎方式至今还在非洲西南部的有些原始部族使用。 </p><p class="ql-block">Primitive Hunting masks. Dating back to ancient survival practices, these camouflage tools helped early hunters mimic animal sounds and blend with prey through animal hide coverings. This primal hunting technique persists among indigenous groups like South Africa's Bushmen tribes.</p> <p class="ql-block">图腾面具。崇拜图腾的民族常常将自身祖先与所崇拜的图腾以神话传说建立联系，并以宗教仪式的方式来展现。此时面具就扮演重要的角色。另一方面，高级宗教人士，咒术师，巫婆等等，都拥有各自特色的图腾。 </p><p class="ql-block">Totem masks. Societies worshipping totems have myths that tell how their ancestors were linked to the totem long time ago and hold religious ceremonies based on the stories, in which masks play important roles. On the other hand, high priests, magicians and shamans possessed their own powerful totems. </p><p class="ql-block">祈雨面具。祈雨面具是指在干旱时，举行祈雨祭礼时配戴的面具。祈雨祭是世界范围内普遍存在的祭礼仪式。 </p><p class="ql-block">Praying-for-rain mask. Praying-for-rain masks were used în ritual praying for rain in drought, Ritual for rain is universal throughout the world. </p><p class="ql-block">·艺术面具。艺术面具是在舞蹈，歌剧等艺术活动中使用的面具。艺术面具分布在世界各地。文化的发展使人类超越了在以利用咒术解决人类和自然又或是人类与神的问题的阶段。艺术面具是为以艺术形式表现和解决人与人之间的问题而诞生的。以咒术来解决问题的方式转变为创造性表现方式。面具也由咒术面具逐渐变形为艺术面具。 </p><p class="ql-block">Art mask. Art masks were used in dances and plays. Art masks are found everywhere in the world. Artistic masks emerged as a means to express and address interpersonal issues through artistic forms. The approach to problemsolving shifted from magical rituals to creative expression,leading to the gradual evolution of masks from ritualistic objects into artistic ones.</p> <p class="ql-block">泰国面具 Thai Mask </p><p class="ql-block">Khon在泰国，是一个代表性的面具舞。它由超过100名的男女演员、一个大型规模Pippard乐团、叙述者和合唱队组成。最初是基于“Ramakien”（罗摩衍那）。在剧中，舞者随着叙述者的朗诵以无言的舞蹈动作表演着一些故事。可分为主要演员罗摩王子和魔王Tosakan的两个军队。因此，角色分为罗摩王子的猴子军队和魔王Tosakan的邪恶军队。节庆期间在泰国Dansai地区使用的面具是咒术面具。他们象征着丰收、繁荣和多产。 </p><p class="ql-block">Khon is a representative mask play in Thailand, Khon includes over 100 actors and actresses, including a large scale Pippard orchestra, narrators and a chorus,The story of Khon is based on ' Ramakien'(Ramayana). In the play, dancers perform some story to the narrators' recitation.The main actors Prince Rama and Devil Tosakan confront each other with their amies, Thus, the characters are divided into Prince Rama' s monkey army and Devil Tosakan' s evil army. Another is Phitakhon mask which is played in Dansai province festival, They have prayed for abundant harvest, prosperity and bearing many young.</p> <p class="ql-block">中国面具 Chinese Mask </p><p class="ql-block">中国的面具文化，从萌芽、生长到成熟、繁荣，经历了漫长而辉煌的发展历程。早期的面具实物所存不多，只在考古资料中时有呈现，时至今日，主要借傩戏这种表演形式得以保存、流传。而且，由于中国幅员辽阔、民族众多，中国的面具又有取材广泛、装饰手法各异、品类繁富多彩的特点。 </p><p class="ql-block">中国面具从角色上大体可分为动物、鬼神、英雄和世俗人物四种类型。这四种面具中，世俗人物固以写实为主，其余三种虽有变形和夸张，但一般亦以不脱离角色的原型为限度。国外一些原始部族中常见的极端抽象的象征型和结构型面具，在中国各地均鲜有发现。 </p><p class="ql-block">The mask culture of China has undergone a long and illustrious developmental journey, progressing from germination and growth to maturation and flourishing. Few physical artifacts of early masks survive today, though they occasionally surface in archaeological records. In contemporary times, this cultural heritage has been primarily preserved and perpetuated through the performance art of Nuo opera. Moreover,owing to China's vast territory and numerous ethnic groups, Chinese masks exhibit distinctive characteristics including diverse materials, varied decorative techniques,and a rich and diverse array of categories. </p><p class="ql-block">Chinese masks can be broadly categorized into four types based on their roles: animal masks,deities and spirits masks, hero masks, and masks of ordinary figures. Among these, masks depicting ordinary figures tend to prioritize realism, while the other three types——though stylized and exaggerated——generally retain recognizable features of their archetypal forms.Notably, highly abstract symbolic or structural masks, commonly found among some primitive tribes abroad, are rarely seen across China's diverse regional traditions. </p><p class="ql-block">UNESCONGO IMACO</p>