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论藏区自然禁忌及其对生态环境的保护作用 总被引:7,自引:0,他引:7
本文认为藏族对自然界的神圣之物有一套禁忌观念.他们对自然界的禁忌既源于对自然的崇敬、畏惧,又和保护自然完整、顺从自然规律的认识相关.禁忌又上升为藏区的法规,对保护藏区自然生态环境发挥了重要作用. 相似文献
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本文在引用大量民族学、人类学相关论述的基础上,对史前时期土地神观念产生的两个阶段予以了详尽的分析,指出:土地神观念的产生始于原始社会自然宗教时期万物有灵思想下的土地有灵意识,但这时人类土地崇拜的对象,仍然是作为自然的土地,并未具有神的观念。当原始人类由土地生养万物联系到女性也具有土地一样的生殖功能,由单纯的土地崇拜转向“地-母”崇拜,土地神的人格化现象渐趋成型,土地神的观念到此才真正产生了。 相似文献
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论原始宗教形态的逻辑发生 总被引:3,自引:0,他引:3
原始宗教诸形态是一个具有逻辑关系的整体 ,在共时性和历时性结构中 ,它以自然崇拜———图腾崇拜———祖先崇拜———至上神崇拜的形式得以展现。自然崇拜、图腾崇拜 ,主体通过物质活动占有活动的对象 ,把自身的本质投射到客体之中 ,并借助主体与客体、主体与主体的关系表现出来 ;祖先崇拜、至上神崇拜 ,主体的观念取向由外在客体走向内在主体 ,主体将自身的力量、社会存在方式通过人化的客体表现出来。原始宗教形态的逻辑发生 ,不仅体现了主体的完善和发展以及主客体之间的现实关系 ,而且也体现了自然人化向人化自然转化的历史趋势。 相似文献
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全球性生态危机是生态伦理得以诞生的决定性原因.生态伦理的重要使命就在于审视和反思人类对待自然环境的态度及其深层的哲学、宗教和文化根源,进而使人类和自然之间的关系得到调适和改善,在自然和人类之间建立一种新型的和谐关系.青藏高原藏族民间宗教信仰中——诸如图腾崇拜与禁忌;对神山的崇拜与禁忌;对土地的崇拜与禁忌;对神湖的崇拜与禁忌等的观念,渗透着或隐性或显性的生态伦理意识,不仅在客观上达到了人与自然的沟通,同时这种古老的智慧也许真的会成为人类走出生态危机的重要途径,从而达到人类与自然的真正和谐. 相似文献
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Among Taiwan’s aboriginal tribes, the Paiwan has the most exquisite decorative adorn ̄ments on their costumes. In addition to the decora ̄tions of their clothing, they also give importance to the decorations on their headdress. Every group designs different headdresses according to social status— this also reflects the cultural identity of the group. The headdress is an external marker of ethnic culture, the carrier of ethnic customs and aesthetic consciousness, and it helps to transmit and promote traditional culture.
The Paiwan people have various forms and shapes of headdresses which are designed freely according to the designer’s artistic inspiration. However , the snake form can only be used by trib ̄al leaders. The headdresses are mainly made from natural materials, such as eagle feathers, animal hides, animal teeth, horns, flowers, grasses, seeds, colored glazed beads, shells, ceramics, metal, etc. However, eagle feathers, animal hides, animal teeth, horns, and colored, glazed beads can only be used by leaders and nobles;common people are strictly forbidden to use these materials.
The social organization of the Paiwan and their festivals and sacrificial ceremonies determine their various headdresses. The headdresses and head bands of the Paiwan are made mainly from black or red flannel; the shape and the use of the materials reflect hierarchical differences. Head ̄dresses can be divided into those of leaders, no ̄bles, warriors and commoners.
The form of the Paiwan people’s headdress consists of strong layering;each is decorated with a variety of materials, creating a three-dimensional effect. The decoration of a moulded cottonmouth snake on the head band reflects the people’s snake worship, and also the group’s aesthetic conscious ̄ness and worship of ancestors.
The decorative expertise and complex working process reflect the Paiwan people’s superb skills in weaving. The materials used for the headdresses of Paiwan people are mostly derived from nature, and strongly reflect regional characteristics.
Totem worship is characteristic of Paiwan reli ̄gion, and it is a form which combines the worship of nature and ancestors. The forms of animals re ̄flect the psychology of Paiwan people’ s original worship in which they depended on getting along with nature, and in which they placed their hopes in Totem worship.
The Paiwan have many myths, which is one of the characteristics of their culture. The forms of the sun and cottonmouth snake, which decorate the headdresses of the leaders, reflect that the sun is the creation of life. Chamilia beads are regarded as a class symbol by the Paiwan people, and have a protective function.
The first child of a Paiwan family, no matter whether it is a boy or girl, has the right to inherit property of his/her paternal or maternal home. One should also notice that the colors, materials, and forms of the headdress of Paiwan man and woman in the same class are the same.
In summary, the shapes and forms of the Paiwan people’s headdresses vary. They reflect the Paiwan people’s unique aesthetic consciousness, and embody the Paiwan people’s excellent tech ̄niques in traditional decorative handwork. The use of colors represents the Paiwan’s optimistic attitude towards life. Materials are derived from nature, which reflects the group’s harmonious relationship with the nature. Headdresses are not only an exter ̄nal form of decoration, but they also have profound cultural connotation and national consciousness. The class system, taking nature as beauty, worshi ̄ping ancestors, their myths, and the equality be ̄tween men and women reflected in the headdresses of the Paiwan people indicate the Paiwan people’s inheritance of tradition, natural worship and pur ̄suits in life. The study of the artistic features and cultural connotation of the headdress of the Paiwan people can help to protect Paiwan traditional adornment technique, and enrich the requirement of diversity in headdress design. 相似文献
The Paiwan people have various forms and shapes of headdresses which are designed freely according to the designer’s artistic inspiration. However , the snake form can only be used by trib ̄al leaders. The headdresses are mainly made from natural materials, such as eagle feathers, animal hides, animal teeth, horns, flowers, grasses, seeds, colored glazed beads, shells, ceramics, metal, etc. However, eagle feathers, animal hides, animal teeth, horns, and colored, glazed beads can only be used by leaders and nobles;common people are strictly forbidden to use these materials.
The social organization of the Paiwan and their festivals and sacrificial ceremonies determine their various headdresses. The headdresses and head bands of the Paiwan are made mainly from black or red flannel; the shape and the use of the materials reflect hierarchical differences. Head ̄dresses can be divided into those of leaders, no ̄bles, warriors and commoners.
The form of the Paiwan people’s headdress consists of strong layering;each is decorated with a variety of materials, creating a three-dimensional effect. The decoration of a moulded cottonmouth snake on the head band reflects the people’s snake worship, and also the group’s aesthetic conscious ̄ness and worship of ancestors.
The decorative expertise and complex working process reflect the Paiwan people’s superb skills in weaving. The materials used for the headdresses of Paiwan people are mostly derived from nature, and strongly reflect regional characteristics.
Totem worship is characteristic of Paiwan reli ̄gion, and it is a form which combines the worship of nature and ancestors. The forms of animals re ̄flect the psychology of Paiwan people’ s original worship in which they depended on getting along with nature, and in which they placed their hopes in Totem worship.
The Paiwan have many myths, which is one of the characteristics of their culture. The forms of the sun and cottonmouth snake, which decorate the headdresses of the leaders, reflect that the sun is the creation of life. Chamilia beads are regarded as a class symbol by the Paiwan people, and have a protective function.
The first child of a Paiwan family, no matter whether it is a boy or girl, has the right to inherit property of his/her paternal or maternal home. One should also notice that the colors, materials, and forms of the headdress of Paiwan man and woman in the same class are the same.
In summary, the shapes and forms of the Paiwan people’s headdresses vary. They reflect the Paiwan people’s unique aesthetic consciousness, and embody the Paiwan people’s excellent tech ̄niques in traditional decorative handwork. The use of colors represents the Paiwan’s optimistic attitude towards life. Materials are derived from nature, which reflects the group’s harmonious relationship with the nature. Headdresses are not only an exter ̄nal form of decoration, but they also have profound cultural connotation and national consciousness. The class system, taking nature as beauty, worshi ̄ping ancestors, their myths, and the equality be ̄tween men and women reflected in the headdresses of the Paiwan people indicate the Paiwan people’s inheritance of tradition, natural worship and pur ̄suits in life. The study of the artistic features and cultural connotation of the headdress of the Paiwan people can help to protect Paiwan traditional adornment technique, and enrich the requirement of diversity in headdress design. 相似文献
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自古以来,藏族与大自然和谐相处,以独特的方式保护着大自然,进而产生了独特的自然保护意识和生态意识,深心地影响着世世代代的藏族人民。通过藏族英雄史诗《格萨尔王传》可窥探古代藏族先民对自己生活的环境——大自然的朦胧认识、崇拜到竭力保护这一过程,本文阐述了人类不是大自然的主宰者,人类与自然和谐相处,均衡互利,人与自然和谐发展才是永恒的主题与朴素观念。 相似文献
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人居空间与自然环境的和谐共生——西北少数民族聚落生态文化浅析 总被引:1,自引:0,他引:1
西北地区民族众多,文化多元。各少数民族在聚落选址、建筑材料利用、庭院布置、屋舍装饰等方面,注重因地制宜、因材致用,强调人群聚落与自然地貌、山水环境、植被状况的契合,积累了一整套善于利用可再生清洁能源的经验,形成了因循自然环境、有效利用自然资源的聚落生态文化,营造出人与自然和谐共生的人居环境机制。这些传统的聚落生态文化,对西北地区环境保护和可持续发展有着重要的现实意义。 相似文献
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人与自然的和谐作为民族地区和谐社会构建的一项重要内容,直接关系到这一目标的全面实现。良好的生态环境是民族地区保持其经济和社会其他方面持续、快速、健康可持续发展的必要条件。当前,民族地区的生态环境遭到较为严重的破坏,极大地影响了民族地区整体和谐社会的构建。人与自然的和谐已经成为民族地区发展所必须解决的战略性问题。只有在遵循自然规律的前提下,合理开发利用自然资源和改善生态环境,切实加强保护和建设民族地区生态环境,才能够推动整个社会的和谐。 相似文献
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人独特的脑生理机制带来了人的终极需求,这只能通过文化的情感价值系统,尤其是终极情感价值满足并形构人的意义系统。终极情感价值作为文明共同体的根基性理念或轴心,在共同体意识培育中发挥巨大的精神作用。中华文化在独特的地理和历史时空中形成自然精神崇拜,表现出"生生""人仁""和合"的终极情感价值及其价值系统。这对于中华民族共同体意识的传播具有重要启示:以终极情感价值统领共同体意识培育与传播,文化的层次性决定着传播的分层性。 相似文献
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藏族史诗《格萨尔》宏大磅礴,从中既能领略到雪域高原的自然风貌和人文景观,又可感受到在恶劣的自然环境下人们生存的不易和生活的艰辛。史诗不仅再现了古代藏族在生存与发展过程中,认知自然现象、总结自然规律的智慧,也反映了古代人民在适应自然环境协调、发展过程中形成的纯朴观念,这些观念充满着朴素的辩证思想,对指导高原社会人们的社会实践发挥了积极作用。文章简要概述了《格萨尔》中的生态内容,并阐述了其生态意识产生的文化背景和思想内涵。 相似文献
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壮族敬奉布洛陀为创世神、文化英雄,是珠江流域原住民族的人文始祖,吴有历史的悠久性、强烈的信仰性、鲜明的活态性和价值的多元性.布洛陀文化的研究已取得了丰硕的成果,需要进一步的拓展与提升. 相似文献
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生态环境与云南藏族的文化适应 总被引:21,自引:0,他引:21
本文在对云南藏族进行深入调查的基础上 ,从生产方式、生活方式、自然资源管理机制和婚姻家庭模式等方面 ,阐述了云南藏族对其所处生态环境的文化适应。文章认为 ,文化是一个民族对周围的自然环境和社会环境的适应性体系。文化与自然的互动或文化对自然的适应可被称为生态文化 ,生态文化是一个民族对生活于其中的自然环境的适应性体系 ,它包括民族文化体系中所有与自然环境发生互动关系的内容 ,主要是这个民族的宇宙观、生产方式、生活方式、社会组织、宗教信仰、风俗习惯等。为适应迪庆高原特殊的生态环境 ,云南藏族早在历史上就通过文化调适 ,形成了一整套与自然环境良性互动的生态文化体系。面向未来 ,云南藏族生态文化中符合时代要求的内容必将得到复兴 ,其中的古老智慧必将与现代化的科学技术和全球化市场体系相结合 ,成为推动云南藏族走上可持续发展道路的关键 相似文献