老挝克木族铜鼓考察

克木族主要居住在老挝北部,是现今仍在"使用铜鼓的民族"。国内外学术界对老挝铜鼓情况了解甚少,通过对老挝馆藏铜鼓和克木族铜鼓文化的考察发现,老挝博物馆收藏有较多数量的铜鼓,这些铜鼓大多数为黑格尔Ⅲ型鼓,即中国学者所称的"西盟鼓"。老挝克木族地区经济发展缓慢,村社文化保持着封闭性、凝固性、稳定性的特征,尽管老挝在其历史发展过程中不断受到外来文化的冲击,但铜鼓文化在克木族聚居区仍保存较好。目前,铜鼓仍被广泛地用于求雨、占卜星象、祈求丰收、祈福等各种仪式。     

川南“都掌蛮”反明斗争考述

自明初开始,活动在四川南部宜宾一带的“都掌蛮”,因痛于明代地方官吏的大肆搜刮和明王朝的强化统治,连续不断地爆发了武装暴动和起义。明王朝对顽强反抗的“都掌蛮”进行了多次大规模血腥镇压,及至万历二年(1574年),“都掌蛮”几乎被明军屠杀殆尽。“都掌蛮”打击明王朝封建统治的斗争,是川南少数民族斗争史上悲壮的一页,是明代四川少数民族反抗斗争的重要组成部分,是值得认真研究的课题。对这个问题,史学界一些同志     

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.     

铜鼓文化圈的演变过程

铜鼓文化圈是南中国与东南亚特有的文化现象,但不等同于铜鼓的分布区域,而是一个不断发展变化的时空概念,中心与边缘的分布区域随时代变迁而变化,各时期铜鼓文化的内涵也不断变化,经历了形成、发展、兴盛、散播与传承的演变过程.     

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.     

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.     

试论铜鼓文化圈

铜鼓是中国南方与东南亚古代文化的共同载体之一,自春秋时期铜鼓在云南由铜釜脱胎之后,于滇池地区逐渐发展成熟,继而传播到越南和川、渝、黔、桂、粤、琼等地,然后再传播至东南亚诸国.20世纪以来这些地区先后出土了大量铜鼓,这些地区基本上属于壮侗语族(侗台语族)生活的地区,铜鼓本身寄寓了丰富的稻作文化信息,在各地有着大致相同的社会文化功能,至今还不同程度存在着活态铜鼓文化.从文化圈的概念研判,上述地区可以看作是铜鼓文化圈,这一文化现象说明中国南方与东南亚自古以来便有着密切的文化与技术交流.     

西南民间铜鼓纹饰艺术探析

铜鼓装饰纹样及铜鼓造型伴随着铜鼓的发生而发展.它是实用与审美的结合,技术与艺术的结合,造型与装饰的高度统一,是中国西南少数民族先民的生产生活、民族习俗、图腾崇拜、价值观念等方面的真实写照,也是西南少数民族先民文化艺术形态和思想意识的具象或抽象的再现.     

壮族民间铜鼓铸造技术考察与研究

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.     

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。     

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。     

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。     

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。     

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     

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。     

湘西苗族鼓舞的生态考察与文化思辨

本文运用文献资料、田野调查、专家访谈、逻辑推理等研究方法,对湘西苗族鼓舞的起源进行了考究。实地考察了湘西苗族鼓舞的传承方式、传承体系、传承人等因素生存状态,分析苗族鼓舞的生态样式及其成因,对湘西苗族鼓舞的文化内涵和文化价值进行深入思辨。     

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.     

傣语谚语的文化透视

谚语主要是社会实践经验的总结,谚语的本质、谚语的主流是劳动人民创造的语言财富。它深深植根于民族文化的沃土之中,自然而真实地反映历史变迁和社会现实,具有深厚的社会文化的历史沉积与印记。本文用文化语言学的观点,对傣族谚语的文化内涵进行了剖析,目的是让人们对傣族现存的或曾经存在过的文化现象有一个深入的了解。