左江蹲踞式人形岩画研究

【作者】 黄亚琪；

【导师】 张亚莎；

【作者基本信息】 中央民族大学 ， 人类学， 2012， 博士

【摘要】 蹲踞式人形岩画是亚洲、地中海以及环太平洋沿岸地区岩画中常见的主题。此外,“蹲踞式人形”还广泛出现在世界各地考古资料中的陶器、骨器、壁画、青铜器等古代艺术作品上,因此,它是一个分布范围广、年代跨度大、且具有世界意义的文化现象。广西左江岩画规模宏大,气势磅礴,其主题内容百分之九十以上是蹲踞式人形岩画,数目之多在我国乃至世界原始岩画中都首屈一指。与广西岩画风格极其近似的蹲踞式人形岩画还出现在中国西南地区的四川、云南,东南的福建,东南亚的一些岛屿国家,以至远到大洋洲的美拉尼西亚、波利尼西亚都有发现,呈现出了一种区域文化的共性,所以无论是对左江蹲踞式人形岩画的普遍性还是特殊性进行研究都具有深远意义；并且在对广西左江蹲踞式人形岩画进行具有广泛的岩画学、民族学、民俗学意义研究的同时,也会对广西正在进行的左江岩画的世界文化遗产申报模式产生重要的启示作用。由此,本文试图运用岩画语言符号学的研究方法,对左江蹲踞式人形岩画的普遍性以及特殊性进行研究,把左江蹲踞式人形岩画看成表情达意传递信息的符号,从岩画符号的语用、语形、语义三个方面,通过存在于岩画形式、意义、创作者之间的关系,对左江岩画整体的部分和作为岩画整体的结构作出探讨和论证。论文共分为六大部分：绪论部分是对选题缘起与目的、论文研究背景做了大致介绍,尤其是对岩画的符号学研究方法做出了较详细的阐释；第一章是对左江蹲踞式人形岩画符号本体之外的语用学研究,主要涉及到符号使用的语境,包括左江岩画自然地理环境、主要文化遗存、民族经济文化类型,还有对岩画的类型以及创作和使用者的民族成分进行了分析；第二章分了三节对左江蹲踞式人形岩画符号的本体做出了深入的语形学研究,通过对左江两种具有特色的岩画组合符号的空间特征、形式的结构、审美、心理表现等特征的分析,从而对左江蹲踞式人形岩画的分期与年代的判别得出一个新的结论；第三章在前两章节的研究基础上,运用了大量与“蹲踞式人形”相关考古学、人类学、民族学、民俗学、民间美术等资料对左江蹲踞式人形岩画的空间以及典型符号组合的语义进行了深入的考究；第四章则是把左江蹲踞式人形岩画放在中国乃至世界范围内,对其风格以及意义进行了比较分析,可以更加明确看出左江蹲踞式人形岩画的普遍性以及特殊性；最后结论部分对论文要点以及创新点做了总结,并对以后发展研究做了展望。本文核心部分的一、二、三、四章是对左江蹲踞式人形岩画独特文化价值的挖掘。更多还原

【Abstract】 The Zuojiang River rock art in Guangxi Zhuang Autonomous Region is magnificent in size, which stretches more than200kilometer, forming a corridor of rock art on cliff, and has attracted world attention. The number of "squatting figure"(so-called "Hocker") theme rock art is enormous not only in China but also around the world. The squatting figure is a significant cultural phenomenon to the world, which in space wildly scattered in Asia, the Pacific Rim, and Mediterranean countries, in time ranges the whole culture history from the early age of Neolithic Period till now. Although many scholars have made outstanding achievements, its meaning is always replaced by the derivative and the original meaning is lost in history. However, in China, there remain plenty of historical images and records, and the area of Zuojiang, which possesses vast of squatting figure rock art, reserves abundant cultural heritage and folk custom materials. Therefore, through the research on these materials, we can have an intensive study and comprehensive understanding of the squatting figure rock art, which has a worldwide significance.Confusingly, the Zuojiang rock art sites is mostly located in the river bend mountain cliffs, and more than ninety percent of the subject is a kind of squatting posture human figures. The highest figures are nearly high in3meters, and the smallest is around60cm. Those kind of rock paintings is called" Squatting humanoid figure" in the area of rock art studies, ancient cultural studies, and archaeological."Squatting humanoids" appeared widely in pacific coast, Asia and Mediterranean in common. It also can be found on the world archaeological data of pottery, bone, paintings, bronze and other ancient works of art, therefore, it is a cultural phenomenon that widely distributed with long history and unique meaning. The Zuojiang squatting humanoid rock paintings are plenty in number, with the found at Southwest China’s Sichuan, Yunnan, Southeast of Fujian, and some in the Southeast Asian island nations, and even as far away as Oceania and Melanesia, Polynesia, the distribution presented as regional cultural.So, Zuojiang Squatting figure paintings generally have high value to study in-depth. Moreover,the study of Zuojiang squatting humanoid art through the ways of petroglyphs, ethnology, folklore at the same time, it will help the ongoing work for Zuojiang rock art applying for the world cultural heritage.Zuojiang rock art was composed for expressing of human feeling and emotion. It was for transmit information, and was formed as symbols of human thought. Therefore, with the communicate between viewers and the rock art, it functioned as a language transferred message at the same time, and formed a information exchange process. This paper applied petroglyph semiotics method, from the Zuojiang squatting rock art, tried to discuss and argue.Thesis is divided into six parts:introduction is a general introduction about the topic’s origin, purpose and the background, especially to make a more detailed interpretation of rock art symbols, first chapter is the study about pragmatics of Hocker theme rock art on the Zuojiang river, mainly related to the symbolic use of the context, including the rock art of Zuojiang river natural and geographical environment, the main cultural relics, the type of the national economy and culture, as well as the type of rock paintings as well as creative and user of the ethnic composition; Chapter ii is the study about syntactics of Hocker theme rock art on the Zuojiang river, Zuojiang squatting rock art shows two types:simple and unordered types and complex symbols type. The spatial structure, syntactic structure, aesthetic characteristics, performance style and mental performance of the rock art have shown a significant difference. Through studying, we reached a new conclusion; Chapteriii is the study about semantics of Hocker theme rock art on the Zuojiang river, on the basis of the first two chapters, we used a large number of crouching humanoid related to archeology, anthropology, ethnology, folklore, folk art, in-depth research information on the semantics of the typical combination of symbols of Zuojiang squatting rock art; Chapter ivis is the study about Hocker theme rock art on the China and around the world, the final conclusions is the paper points, innovationsummarized, and the future development of the prospect. Core part of this article is one, two, three, four chapters,which are the excavation of the unique cultural value of Hocker theme rock art on the Zuojiang river.更多还原