节点文献
清代琼黎图研究
【作者】 戴成萍；
【导师】 祁庆富；
【作者基本信息】 中央民族大学 ， 民族学， 2011， 博士
【摘要】 中国黎族人口125万,世居海南岛,拥有悠久的历史和灿烂的海洋文化,但因没有本民族文字而在现代遭受文化流失最多。琼黎图是清代官方为掌握“黎情”而绘制的黎族风俗的图画,构成清代少数民族图册的一个独具特色的系列,民族学价值极高。本文从图像学角度研究已知存世清代琼黎图,在梳理琼黎图研究成果的基础上,利用各种历史文献及民族学调查资料,运用历史民族学理论方法,重点对琼黎图成书的时间和历史背景以及重大的史料价值进行考释,同时运用人类学中的文化象征理论对琼黎图与黎族非物质文化遗产的关系进行描述和阐释。论文分为六个部分,第一部分是绪论,最后一部分是结语,中间四部分是正文,分四章。绪论部分简要交代论文的选题缘由及意义,概述琼黎图研究状况,明确论文研究所采用的理论和方法。第一章分析琼黎图产生背景,概述存世五种琼黎图版本,即国博本《琼州海黎图》、民大本《琼州黎族风俗图说》、中山本《琼黎一览图》、新乡本《琼黎风俗图》、台北本《黎人风俗图》,并对琼黎图研究的学术史进行系统的综述。第二章重点对《琼州黎族风俗图说》进行考释。通过对其图文记述,考释黎峒由来变化,具体围绕史料记载对比考释熟黎村峒和生黎村峒,特别是通过考释中心黎峒——冲山,论证了冲山就是今天的五指山市通什镇。第三章重点对《琼州海黎图》和《琼黎一览图》进行深入考释。具体通过山岭、湖水港口、服饰等,结合史料记载对比研究,论证其成书年代和历史背景,认为《琼州海黎图》、《琼州黎族风俗图说》的琼黎图属于一个系列,绘制时间应在清代康熙四十二年至四十七年(1703-1708)和雍正七年(1729)；而《琼黎一览图》、《琼黎风俗图》、《黎人风俗图》系同出一源,绘制时间应在乾隆后期以后,新乡本《琼黎风俗图》系伪造的改绘本,成书时间为晚清。第四章讨论琼黎图在黎族历史遗产中所起到的作用,通过对现今黎族国家级非物质文化遗产的描述和分析,指出琼黎图中所表现的图像——黎锦、船型屋等已成为黎族文化的象征。结语部分对文章的主要研究内容、观点和结论进行回顾和总结,指出了琼黎图研究的意义：在海南黎族社会文化经过近百年剧烈变迁,传统物质文化受到巨大冲击,而民族文化重建及文化产业要为当地发展承担重任的背景下,琼黎图研究成果与民间非物质文化遗产的结合,可以为文化复兴提供重要的依据和动力。
【Abstract】 The Li People as a indigenous people on the Hainan Island of China has a population of 1.25 million. They have a splendid ocean culture that adds richness to the Chinese nation. However, due to the fact that the Li people have no writing system, their traditional culture suffers a greater loss in the modernization than most of the national minority groups in China.The Hainan Li Album is an administrative legacy of the Ancient Chinese Dynastic official system for recording and controlling the Li People by means of series paintings with brief illustrations of the Li customs. The Qing as a last Imperial Dynasty left a rich legacy of Cultural Minority Albums and among it, the Hainan Li Albums constitute a unique series with very high ethnological values awaiting our intensive academic study.This dissertation approaches the Hainan Li Album in the Qing Dynasty from an iconological way. By combining historical documents with ethnological data, it reclassifies the available achievements of the Hainan Li Album study before rendering a new textual examination and theoretical explanation of the time, the historical background and the academic value of the different versions of the Hainan Li Album series. It has also made an attempt to describe and interpret the relationship between the pre-modern Hainan Island Li Album and the current Li intangible cultural heritages in light of the cultural representation theory of the modern anthropology.The dissertation is composed of 6 parts arranged in the following sequence:An introduction, a conclusion and four chapters of the main body.The introduction briefly narrates the reasons and significances of the selected topic and dissertational research. It follows by an outline of the research history of the Hainan Li Album and an orientation of the methodology and research paradigm adopted in the dissertation.Chapter I presented the social political background of the Hainan Li Album production first, and then turn to a description of the 5 available versions of the Hainan Li Albums as following before a detailed trace of their histories of preservation and study:The "Qiongzhou HaiLitu/The Sea-Going Li Album of the Hainan Island" in the National Museum;The "Qiongzhou Lizu Fengsu Tushuo/The Pictorial Illustration of the Hainan Li Customs" in the Minzu University of China;The "Qiongli Yilantu/A General Survey Chart of the Li" in the Sun Yat-sen Library, Guangzhou;The "Qiongli Fengsutu/A Customary Illustration of the Li on Hainan Island" in Xinxiang Museum, Henan Province (transferred to the Hainan Provincial Museum)The "Liren Fengsutu/A Customary Illustration of the Li People" in the History and Linguistic Institute of Academia Sinica, China Taipei;ChapterⅡas a focus lays stress on the examination and explanation of The "Qiongzhou Lizu Fengsu Tushuo/The Pictorial Illustration of the Hainan Li Customs" and it scrutinizes the paintings and illustrations of the evolution of the name of Lidong settlements, including the differences between the Domesticated Li and Wild Li. By citing a central settlement named Chongshan, the author comes to the conclusion that it was the predecessor of today’s Tongzha City, traditional cultural capital of the Li.ChapterⅢas a focus lays stress on the examination and explanation of the "Qiongzhou HaiLitu/The Sea-Going Li Album of the Hainan Island" and the "Qiongli Yilantu/A General Survey Chart of the Li". By a series of comparisons of the mountain ridges, the lakes and ports, the clothing of the residents with historical records and the time and backgrounds of their production, the author builds up the argument that the 2 Albums belongs to a sequence that was completed in 1703-1708, the 42-47th years of the Kangxi Reign and the 1729 in the 7th year of the Yongzheng Reign. The dissertation goes further to argue that the other 3 Li Albums are also from a same stock produced in the later years of the Qianlong Reign. Among them, the "Qiongli Fengsutu/A Customary Illustration of the Li on Hainan Island" in today’s Hainan Museum is but a forged drawing one produced in the late Qing Dynasty.ChapterⅣis a discussion of the position and role of the Hainan Li Album in the Li Historical and Cultural heritages. By a screening and analysis of the Li intangible cultural heritage in the national lists, the author identifies that the icons of the Li brocade, boat-shaped house etc. in the Hainan Li Album have become representative symbols of the modern Li culture.The Conclusion as ending parts gives a retrospective summary of the dissertation and emphasizes the significance of the Hainan Li Album Study:in a time when the Li Culture on the Hainan Island has experience a drastic change in the 100 years process of modernization, the Li material culture has become nearly invisible. But the current position and future development of Hainan Island requires a Li Culture Revitalization as a backbone for the cultural reconstruction and innovative cultural industry. Against the background of Zeitgeist, a recombination of Li Album Study and the Li Folk Intangible Cultural Heritage will render a solid basis and impetus for the Li and Chinese cultural revitalization as a whole.