铜鼓是东盟古代文化的共同载体

铜鼓广泛分布于中国南方和与之相邻的越南、老挝、柬埔寨、缅甸、泰国及马来西亚和印度尼西亚等东南亚国家.铜鼓是这些国家和民族在两千多年的漫长历史中,通过各种形式的交往与融合形成的共同文化载体.     

川南都掌蛮铜鼓文化探讨

在历史上拥有巨量铜鼓的川南都掌蛮 ,既是铜鼓的使用者 ,又是铜鼓的铸造者和铜鼓文化的原创者。都掌蛮铜鼓在使用、流传过程中 ,充分发挥了伴歌节舞、媚事鬼神和夸富显贵、集众征战的社会功能 ,铜鼓是都掌蛮的神灵之物 ,也是财富与权力的象征。都掌蛮铜鼓文化与悬棺葬俗交融渗透、融为一体 ,不仅极大地丰富了铜鼓文化的内涵 ,更从本质上表现出铜鼓文化是都掌蛮古老民族文化的重要特征     

左江花山岩画铜鼓考

左江花山岩画文化景观成功入选世界遗产名录后,依然有未解的千年之谜。经对左江花山岩画中铜鼓的族属、类型、传承发展、文化功能等进行多角度考证,确认左江花山岩画所绘铜鼓为骆越人所有,其类型为万家坝型、石寨山型和东山型早期铜鼓;岩画中的铜鼓不仅是部族首领权力的象征,还是通天礼神、汇聚人心、指挥军阵、人神共娱的重要礼器、响器及乐器;东汉马援缴骆越铜鼓后,左江流域骆越后裔仍有用鼓、尚鼓的习俗,这是对左江花山岩画铜鼓的一种继承与发展。与此同时,骆越人先进的青铜铸造技术亦为铜鼓在这一地区的传承与发展提供了物质基础。     

从人出发再回到人——访广西民族大学韦丹芳博士

民族学、科学技术史的学科背景和长期生活在文化多样性村子的经历,使韦丹芳博士的研究具有双重色彩,既关注文化,也不忽略技术。从硕士论文对贡川壮族手工造纸的研究,到博士论文对老挝克木族铜鼓的讨论,她都在思考如何将两者结合起来,自然进入科技人类学的领域。作为一个新兴的研究领域,科技人类学虽有广阔的前景,但同时也面临种种困难。其研究的关键在于从人出发,无论是对科学或技术的讨论最后都应回归到人本身。     

中国鼓文化中独具民族特色的藏族巴郎鼓

鼓是中国乃至世界各族人民一种重要的打击乐器.中国古代很早就有鼓的记载,在许多民族舞蹈中都可以看到鼓的身影.如朝鲜族的长鼓舞,彝族、布依族的铜鼓舞,佤族、苗族的木鼓舞、藏族的龙鼓舞等等.位于洮河领域的卓尼鼓舞文化中,比如巴郎鼓这种舞蹈道具就反映了该地区藏汉文化的交融,这种特殊性反映了民族文化的交流成果.     

中国鼓文化中独具民族特色的藏族巴郎鼓

鼓是中国乃至世界各族人民一种重要的打击乐器。中国古代很早就有鼓的记载,在许多民族舞蹈中都可以看到鼓的身影。如朝鲜族的长鼓舞,彝族、布依族的铜鼓舞,佤族、苗族的木鼓舞、藏族的龙鼓舞等等。位于洮河领域的卓尼鼓舞文化中,比如巴郎鼓这种舞蹈道具就反映了该地区藏汉文化的交融,这种特殊性反映了民族文化的交流成果。     

多元一体维度下石寨山型铜鼓纹饰的文化解读

以滇池盆地为中心的古滇国地理环境中产生的石寨山型铜鼓及其纹饰为图像文本,将石寨山型铜鼓纹饰纳入中国早期青铜文化发展演变序列中进行解读。石寨山型铜鼓的定名源于1980年在南宁召开的"中国古代铜鼓研究会",会上确立了铜鼓的"八分法"。石寨山型铜鼓在八大类型中独树一帜,纹饰特点鲜明,主要有翔鹭纹、羽人纹、牛纹、鹿纹、同心圆纹、锯齿纹等。在对纹饰元素的整合梳理的基础上,结合地理环境、历史背景,在中华多元一体的历史维度下,探讨石寨山型铜鼓纹饰形成的动力及其在由祀入礼、神权构建中的功用及意义。     

越南东山铜鼓再认识与铜鼓分类新说

用国际视野对越南东山铜鼓和东山文化重新考察,可以看出,东山铜鼓以其强烈的地域特色和重要的历史地位 ,作为铜鼓文化发展中的重要角色参与铜鼓分类是无可置疑的.     

浅析贵州省民族博物馆馆藏铜鼓纹饰类型及其文化意蕴

我国南方少数民族铜鼓以精美的纹饰,形象地反映了当时当地民族的社会生活、风俗习惯和宗教意识,本文通过对贵州省民族博物馆馆藏铜鼓纹饰的分析来探讨其背后的文化意蕴.     

试论铜鼓文化的变迁

用人类学变迁理论来阐述铜鼓社会功能的变化,及铜鼓在现代化进程中被赋予的使命和意义,展示了铜鼓文化旺盛的生命力.说明历史上社会的变迁使铜鼓的社会功能在一定程度上发生了嬗变.     

土家族的鼓习俗及其文化内涵

鼓本身是一种民俗事象,土家族的信仰、礼仪、生产和生活习俗、节庆、娱乐等等,无不涵蕴着鼓文化的内容。鼓与土家人的生产、生活和生命紧密地联系在一起,具有丰富的民族文化内涵,具有强大的社会功能。本文通过对鼓文化事象的研究,试图深化对土家族传统文化的认识和理解。     

华北地区祈雨仪式中的男性社会组织

本文介绍了华北地区祈雨仪式中的男性组织的构成如社首、保水、善愚、鼓乐方阵、仪仗队、叫雨者等及他们各自的活动职责和功能。     

浅议青海地区的史前青铜艺术

近年来,青海地区考古发现的青铜器,涉及到生产、生活、宗教等诸多方面,其艺术风格既不同于中原地区,也不同于北方草原的风格,具有独特的艺术风格。     

试论越族青铜器人面纹饰与农业祭礼的关系——兼析盘古化身神话的文化意蕴

上古越族的青铜器人面纹饰与祭先祖、禾神的礼俗有关,此俗可追溯到先秦两汉时代,实为原始农业血祭在装饰艺术形式上的反映;越族人面纹饰与南方民族的盘古化生神话皆为农业祭礼文化中的不同表现形式之一。     

三星堆青铜纵目面具与铜兽首冠人像的藏文化解读

This article is the fourth article re-lated to the research of “Zhangzhung·rGyalron· Sanxingdui and Jinsha”—Tibetan cultural interpre-tations of relics unearthed in Sanxingdui and Jin-sha. The main focus of the article is Tibetan cul-tural interpretations of the vertical-eyed bronze mask and the copper statue of a man with an ani-mal head crown in Sanxingdui Museum. 1 . Vertical-eyed bronze mask and Miwo Lon-glong The bronze cultural relics unearthed in Sanx-ingdui or even Jinsha have broad and deep links to ancient Tibetan culture. The vertical-eyed bronze mask is the most typical of the numerous bronze objects depicting human heads. In the following discussion, we would like to give an interpretation of the symbolic meaning of the bronze objects de-picting human heads. In order to draw inferences about other cases from one instance, we would like to choose two typical cases: choosing the vertical-eyed bronze mask as our model of cultural relic, and choosing langshi jiazu ( the Lang family clan) as our model of Tibetan ancient literature. It is generally stated that the eyes of the verti-cal-eyed bronze mask kept in Sanxingdui museum roughly meets the appearance of the Shu people ’ s ancestors, the Cancong, who are recorded as hav-ing “vertical eyes” in the historical books. Some people also believe that “vertical eyes” means“upright eyes”, just like the eye in the forehead of the God Erlang in Chinese ancient myth, so the image might be a statue of an ancestor god. Addi-tionally, some connect it with the frontlet of kuilong ( a sacred dragon in Chinese myth ) , and believe that it is related to zhulong( another sacred dragon in Chinese myth) who has a human head, a dragon ( snake) body, and “upright eyes”. Langshi Jiazu is an important document for studying the political and religious unification sys-tem in Tibetan areas during the Yuan, Ming and Qing dynasties, meanwhile, it is also an essential material for the study of the Gesar Epic. Langshi Jiazu was published by Xizang renmin chubanshe ( Tibet People ’ s Publishing House ) for the first time in May, 1986, and the whole book is com-posed of three parts. From the perspective of the ancient Indian centralism and Tibetan centralism, Langshi Jiazu has many unique parts, and its con-tent has an unusual connection with rGyarong in the southeastern part of Tibetan areas. For in-stance , the content of the fist part is very similar to shengniao xiongqiongwang zhuang ( Biography of the Sacred Bird Garuda) recently discovered in the rGyarong area. There is a myth in Langshi Jiazu, and the sto-ry is very common in Bon literature. The academic circle calls it the Bon religion’ s view on the crea-tion of world—the universe is oviparous. Most scholars believe that the view of oviparous creation of the world in Bon religion might be Tibetan peo-ple’ s own cognition. We provide translations to some content included in the Langshi Jiazu, and compare them with the vertical-eyed bronze mask, and notice some information which has been ig-
nored by the current academic circle. For in-stance, the vertical-eyed bronze mask symbolizes“”, Chinese phonetic translation Miwo Longlong, which means “may all your wishes be-come truth”. 2 . Copper statue of a man with an animal head crown in the Bon Religion The copper statue of a man with an animal head crown kept in Sanxingdui Museum is not com-plete, with only the upper part of the body remai-ning. The statue wears an animal head crown. On the two sides of the top crown, there stands two an-imal ears, in between of which there is a curly decoration which looks like an elephant ’ s nose. Apart from the previously-mentioned characteris-tics of the sacred bird Gaguda, the copper statue of a man with an animal head crown also has several other outstanding features, for instance, its crown and posture. The crown is not only high, but also has a rectangular hole, on the top of which there are three long strips. The statue is posed in a grasping gesture. This paper gives firstly an overall interpreta-tion of the copper statue of a man with an animal head crown according to the shengniao xiongqiong-wang zhuang, then gives a Tibetan cultural inter-pretation of the details of the statue. Concerning the knowledge of the three long strips on the crown of the copper statue, this article finds some clues from the angle of philology and archaeology, and proves that the origin of this crown is the sacred hat in Bon religion of Tibet. Moreover, this article also discusses the reason why the crown has these three strips on top of it. The author mentions that it is related to the sacred bird Garuda, and the three strips respectively represent the two wings and horn of the bird. In other words, the strips on the right and left side symbolizes the bird opening its wings and viewing the world, while the strip in the mid-
dle symbolizes that the sacred bird is male, not fe-male. From one aspect, the head dress of adult women in the rGyarong area symbolizes the sacred bird Garuda, and from another aspect, in Tibetan culture, including rGyarong culture, only the sa-cred male bird Garuda has the horn. That means the sacred bird Garuda with a horn must be a male one. Concerning the vertical-eyed bronze mask and the copper statue of a man with an animal head crown unearthed in Sanxingdui, there are still many details that need to be explored, and also we feel that it could be differently interpreted. Howev-er, due to the limitations of space, we will not do a long discussion here, but we do hope that from the examples provided in this article, one can draw inferences about other cases from this one in-stance.     

先秦时期的秽人与貊人

对于中国古代文献记载的秽人和貊人 ,历来都有不同的见解。本文以考古资料为基础 ,结合对不同时期文献资料的考证 ,提出秽人和貊人在先秦时期应是两个人类集团的称谓。将公元前10 0 0年到公元前 3世纪东北亚系青铜文化分为两个主要系统 :一个系统分布在辽西和辽河流域 ,应是先秦时期貊人所创造的文化 ;另一个系统分布在辽东、吉长地区和朝鲜半岛 ,应是先秦时期秽人所创造的文化     

匈奴风俗文化在中原地区的传播和影响

代表匈奴文化特色的鄂尔多斯式青铜器,除集中出土于原匈奴驻牧的“河南地、新秦中”外,还广泛存在于今华北、西北、江苏、四川,甚至广东、广西地区。匈奴文化特色浓郁的饰牌、短剑亦被中原人使用和喜爱。游牧社会用人字形纹饰刻写动物身躯或装饰器物的表现手法,也被中原人借用。中原居民长襦博带的服装式样,因受胡人服饰文化影响改成上衣下裤。匈奴风俗文化强烈地影响了中原。中华文化多元一统。匈奴人民与中原人民共同创造了伟大祖国的光辉历史和灿烂文明。