民族传统文化与现代化关系之思考：乐竹村纳西族祭天仪式的田野记录

Taking the Ritual of Sacrifice to Heaven of the Naxi at Lezhu village as a case stud-y, this article tries to explore how a typical Naxi village handles the relationship between its tradi-tional culture and modernity, and how it reshapes its unique culture in the process of cultural change, and preserves its cultural characteristics. The Ritual of Sacrifice to Heaven is a grand and complicated ceremony of the Naxi. The proce-dure of this ritual at Lezhu village generally in-cludes the following steps: 1 ) planting sacred trees;2 ) offering incense sticks and rices;3 ) offer-ing wine;4 ) cleaning impurities;5 ) offering un-cooked food; 6 ) offering cooked food; 7 ) atoning for the sins and praying for blessings; 8 ) feeding crows and eagles;9) sharing the food. According to the analysis of the author, the revitalization of the Ritual of Sacrifice to Heaven in Lezhu village is related to the following reasons:1 ) the formation of united-groups for sacrifice to heave;2 ) the power of the people’s belief in a small community; 3 ) the effort of folk “enthusi-asts” ;and 4 ) the geographical location of the vil-lage. Concerning the inheritance and change in the Ritual of Sacrifice to Heaven at Lezhu village, we should notice that some traditions have been inheri-ted while some have been changed. In the case of Lijiang , economic factor ( especially tourism indus-try) has played an important role in the ethnic cul-tural change. On one hand, it can accelerate the spreading of the Naxi traditional culture, enhance the Naxi’s ethnic confidence and identity, and cre-ate chances for local economic development, on the other hand, the traditional culture might lose its foundations during the process of spreading and exchanging. Social change can result in the lose of tradi-tional culture, and the Naxi’s Dongba culture in Lijiang plain is facing this problem. A slightly im-proper behavior can lead to the discontinuity, or e-ven disappearance of ethnic traditional culture. There is always a paradox of “center-margin”concerning the economic development and ethnic traditional culture inheritance. Ethnic traditional cultures normally have no enough survival space in the economically developed areas while they are preserved much better in the economically back-ward mountainous areas. To a certain degree, the revitalization of the Naxi’s Ritual of Sacrifice to Heaven at Lezhu village is due to the relatively backward of economics. Following the development of transportation, communication and internet, people’s concept of space and time has changed;modern civilization has strongly impacted the Naxi of Lijiang. The Naxi of Lijiang, like other ethnic minority people in southwest China,are also facing a problem of cultural discontinuity or reshaping of the tradition. We should aware that the society is develo-ping, and cultural change has its inevitability. As a social member, we should ,on one hand, inherit the culture, and on the other hand, understand its change and development.     

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.     

对口援藏制度研究进展

“Complementary counterpart assis-tance” to Tibet is one of the earliest ways China conducted regional “complementary counterpart”assistance. As a formal institutional arrangement, it already has had more than 20 years of history. The academic research on “assistance to Tibet”has been gradually increasing. However, there are big differences in understanding many of the is-sues. This article conducts a comprehensive analy-sis on the progress of related research on the“com-plementary counterpart” assistance to Tibet in re-cent years, focusing on the spheres of assistance, the theoretical basis, institutional nature and other issues related to “complementany counterpart” as-sistance of Tibet. It further proposes the direction of future research.     

扶贫视阈下甘孜州县域旅游产业竞争力研究

Tourism is the pillar industry of Ganzi Prefecture, and it is of great practical signif-icance to the study of the competitiveness of county-level tourism industry in Ganzi Prefecture. This paper constructs an indicator system of evaluating competitiveness of the county tourism industry from four dimensions, including the development of the tourism industry, the development of related indus-tries, the economic environment and transport con-ditions. The paper studies the competitiveness of the county tourism industry of Ganzi prefecture in 2013 via the entropy method, and then analyzes the differences and shortcomings of the county’s ca-pability to alleviate poverty through tourism. The results show that, first of all, the various counties’ capability to alleviate poverty through tourism in Ganzi is obviously different from each other: the eastern counties are relatively strong in this area, the northern counties are somewhere in the middle, and the southern counties struggle. Secondly, the development of tourism and related industries has a great impact on the competitiveness of the county tourism industry, and that the counties generally have shortcomings in their transport conditions. Thirdly, the restricting factors on the competitive-ness of the county tourism industry are complicat-ed, and the strategy of tourism development should be formulated with regard to these issues. Based on this situation, this article proposes the following suggestions: 1 ) Various counties in Ganzi prefecture should strengthen their research into and promotion of poverty alleviation through tourism, accelerate the development of their basic infrastructure, and improve the transport condi-tions;2 ) the counties in the east of the prefecture should increase investment into transportation, op-timize their industrial structure, and promote the development of the tertiary service sector; 3 ) the counties in the north should develop their own po-tential, strengthen economic construction, improve GDP per capita, and promote the service industry, including restaurants and hotels; 4 ) The counties in the south should pay attention to the publicizing and construction of their own brand of tourism, im-proving their brand awareness and popularity. In summary, Ganzi prefecture should take poverty alleviation as a chance to innovate a meth-od for poverty alleviation, paying special attention to poverty alleviation through tourism, improving relevant policies, and promoting the tourism indus-try of its counties.     

纳西族与藏族的语言接触、宗教互动与文化融合管窥——木里县甲区村纳西东巴文玛尼堆铭文译释

东巴文玛尼堆铭文是中国西南多民族杂居区多种宗教文化交融和语言接触的产物,集中体现了佛教、本教、东巴教兼容并存、相互融合的历史。本铭文文字较多、结构完整、内容丰富,保留了一些人类早期文字的特征和地域性特征,同时补充了纳西东巴文献的材质类型,也是区域多学科研究的重要历史文献资料。     

《祭署·神鹏与署斗争的故事》的经书形制与书写特色研究

本文选取《纳西东巴古译注全集》第6卷中的《祭署.神鹏与署斗争的故事》为材料,《祭署.神鹏与署斗争的故事》是纳西东巴经早期经典的代表,对于研究纳西族的历史、语言、文字有非常重要的学术价值。文章对该经典的文献类型、物质形式、形制与书写格式的实际使用情况进行研究,就纳西东巴古籍的特点和研究价值提出了作者自己的见解。     

略论纳西族饮食习俗的文化意蕴

本文从东巴古籍记载的饮食习俗和当代的延续、饮食禁忌与民间信仰的关系、食品祭祀和相关的水土观念、纳西族饮食中的民族文化融合以及饮食烹饪习俗中的社会性别和长幼观念五个方面探讨了纳西族饮食习俗的文化意蕴.纳西族的饮食文化源远流长,随着社会的变迁和发展,纳西族的饮食文化也在不断地发生着较大的变迁.其从古相沿的饮食文化,吸收了其他民族的饮食文化精华,进行了本土化改造和创新,得到了丰富和发展.     

"纳木依"与"纳"之族群关系考略

作者从历史渊源、宗教信仰、社会生活习俗和文学艺术等诸多方面,对"纳木依"人与如今以"纳西"、"纳罕"、"纳"等为自称的"纳"族群的关系进行了详细考证和论析,认为纳木依人与纳西、纳人是同源异流的关系.通过对他们的比较研究,可以深化对东巴教源流的认识,也有助于深入理解纳西族和藏族的历史关系及其变迁.对一个民族要有深入的研究,有创新之见,就必须打破囿于单一民族的研究习惯,进行跨民族、跨族群的比较研究,特别是对具有同源异流关系的族群进行深入细致的比较研究.     

权力的互嵌与争夺——小凉山彝族毕摩与东巴共存的田野调查研究

一个彝族山区的村落,既有彝族传统的毕摩,又有纳西族独特的东巴.毕摩和东巴共存于一个村落共同体,分工明确层次不同.村落中没有纳西族村民,为何会有东巴的出现,东巴和毕摩如何实现权力的互嵌与争夺,耐人寻味.毕摩和东巴都享有特殊的地位,都依赖于支持它们的文化根基,其本质是一种巫术的实践,并作为生存手段而不断被重复.通过小凉山毕摩与东巴共存之田野调查,得出共存之因国家权力的渗透能力之强是其一,民众权力争夺之智慧交锋是其二,矛盾各方彼此之间的妥协与让步是其三,以小观大,权力的互嵌与争夺无处不在.     

纳西族东巴大祭风的心理功能

东巴大祭风作为纳西族祭祀非正常死亡者灵魂的仪式,“情”与“怵”交错互动、贯穿于整个祭祀过程中。东巴大祭风的目的是使非正常死亡者的灵魂得到“解脱、释放、各得其所”。东巴大祭风习俗的形成和变迁与纳西族的宗教观念、殉情风习,以及家族观念密切相关     

布努瑶民间法及其和谐社区秩序的构筑——以广西都安瑶族自治县下坳乡加文村为例

本文通过对一个典型布努瑶村寨--加文村--的田野调查,描述、探究布努瑶民间法的表现形式、调解方式及在社区秩序构筑中的和谐运作.文章认为民间法作为一种与村民生活十分贴近的"准法规范"在乡村生活中发挥着不可或缺的作用,是基层社会稳定与繁荣的润滑剂,延续着国家权力对社区的控制.因此,重视来自民间法在农村社区稳定和法治建设中的建构力量,对构筑平安新农村的法治秩序无疑有重要的现实意义.     

民族宗教文化的现代化--以三个少数民族村庄神龛变迁为例

本文对20世纪以来三个少数民族村庄(摩哈苴彝族村、捞车土家族村和周城白族村)在民居神龛上发生的变迁进行了分析研究,并在此基础上探讨了民族宗教文化现代化的问题。作者指出,在现代化的过程中,民族宗教文化不仅没有消失,而且与时俱进,被纳入到现代文化建设中,在与国家文化的互动中取得发展。民族宗教文化现代化的趋向之所以发生,其根源在于文化变迁存在着“多重文化时空叠合”的一般性规律。     

山神信仰:社会结合的地域性纽带——以四川省宝兴县硗碛藏族乡为例

本文通过对四川省宝兴县硗碛藏族乡的田野调查,揭示了硗碛山神的总体特征,总结了硗碛山神信仰的地域性特点,指出祭祀山神的仪式,即祭山会在当地社会结合中发挥着地域性纽带的重要作用。