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石寨山型铜鼓是铜鼓发展的成熟期。石寨山型铜鼓在万家坝型铜鼓乐器、礼器的基础上上升为国之重器,统治阶级既将其陈列于庭彰显其权势和财富,又作为祀神乐器威慑民心。石寨山型铜鼓传至广西,与楚汉和当地音乐文化融合,形成了独具时代特色的骆越礼乐文化。 相似文献
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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. 相似文献
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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。 相似文献
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宜州近年发现的两面石寨山型铜鼓和画马崖岩画 ,同属一个地点。这一发现 ,为了解历史上宜州一带的壮族先民与滇越民族的关系 ,揭示宋代“宜州买马”的交易场所和明代“怀远驿铺”的历史关系提供了新的资料。 相似文献
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历史上,中国南方民族的铜鼓铸造曾有过辉煌的成就,灿烂的铜鼓文化从二千多年的春秋战国时期一直延续到唐宋元明时期.但是,由于铜鼓的铸造技术"秘不外传"或"传男不传女".到清代后己经失传.广西环江毛南族自治县的壮族韦氏兄弟经过多年的探索和反复试验.成功地铸造出形神兼备、音质俱佳且受壮、瑶民族认可的麻江型铜鼓,使得这一失传多年的铜鼓铸造技术得以恢复与弘扬,铜鼓文化也得到传承与发展. 相似文献
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川南都掌蛮铜鼓文化探讨 总被引:1,自引:0,他引:1
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 相似文献
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广西的铜鼓研究从20世纪80年代初算起已经30多年,但是在万家坝等8型铜鼓中,比较明确矿料来源的只有北流型和灵山型,铸造地问题也是一直悬而未决.通过比对广西各类型铜鼓和铜、锡、铅矿点的分布范围,可以看到二者之间存在高度对应:铜、锡、铅矿点的分布是影响铜鼓分布的重要因素,矿点开发的程度和年代早晚也间接影响到铜鼓类型的兴衰发展.这样的分布规律暗示着铜鼓应是在古人有目的地选择靠近矿点的地理位置后,就地或就近取材铸造.铜鼓从云南传入广西后,在广西被“本土化”,骆越、西瓯、僚、乌浒、俚等先民利用广西丰富的矿产资源,创造出了光辉灿烂的铜鼓文化. 相似文献
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韦丹芳 《广西民族大学学报(哲学社会科学版)》2002,(Z2):82-85
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. 相似文献
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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。 相似文献
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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. 相似文献
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. 相似文献
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云南小凉山彝区村落空间生成研究——与杜赞奇“权力的文化网络”之理论对话 总被引:1,自引:0,他引:1
杜赞奇"权力的文化网络"概念因失去对地理环境、人的生物本能、社会分层等因素的关注而很难解释国家、村落和权力彼此塑造的历史关系。本文的研究恰恰揭示了村落文化空间的生成是国家政权建设、地理环境、生物本能、社会分层等因素综合作用的结果,而不是与这些因素无关。 相似文献
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明太祖朱元璋"御制至圣百字赞"是与中国伊斯兰教和回族有关且流传较广的重要文献,《中国少数民族古籍总目提要.回族卷.铭刻》著录的版本有8种。由于传世方式多样,形成时代、存放地点、抄录者等不同,各版本间存在诸多异文现象。多数异文无歧义,但部分异文歧义较大。对此类异文现象的研究,有助于对文献内容的正确理解。笔者初步研究认为,传世的百字赞文献基本可以分为两大版本系统,即洪武八年(1375年)武昌起义街清真寺碑文系统和洪武三十一年(1398年)南京净觉寺碑文系统。净觉寺碑文传世最广,影响最大。但笔者认为,起义碑碑文系统当更接近百字赞原貌,净觉寺碑碑文系统当是对起义碑碑文的改写。 相似文献
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本文认为古藏语木给(dmu-skas)是指通天之梯,古汉语建木是指通天之树,古汉语建木是古藏语木给的译音。木给与建木反映的是藏汉古文化视野中的早期原始的绝地天通思想。在藏汉民族古文化视野下,这种绝地天通思想在后来的社会发展进程中大致经历了巫觋管理阶段、人人为巫阶段、政教合一阶段、前三者合题阶段等几个发展阶段,但是,在各自文化视野里每个阶段及其表现形式又略有不同。藏族历史上大大小小形形色色的这样或那样的教派以及各种活佛系统产生发展之历史,其实说到底就是藏传佛教文化视野下绝地天通天人合一思想的一部演绎历史。 相似文献
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古代时期的藏族人对他们生活在其中的世界的起源本质、事物的运动,以及层出不穷的自然现象进行过种种观察和思考,从而形成了他们对自然界的根本看法和认识,其中关于世界本原的"元素说"较有代表性。 相似文献