国外“苗图”收藏与研究

【作者】 史晖；

【导师】 祁庆富；

【作者基本信息】 中央民族大学 ， 民族学， 2009， 博士

【摘要】 在本论文的研究中,“苗图”泛指清代(或明清时期)编绘的各种少数民族图册,以西南少数民族为主,也包括其他地区一些以少数民族为题材的图册。这些图册,在西方人著述中习称Miao albums,Miaualbums,Miao-tze Albums。在国内的研究中,多用“苗蛮图”、“百苗图”称呼。考虑图册反映的地域多样性以及民族及其支系的多样性,本文采用“黔苗图”、“滇夷图”、“楚苗图”、“琼黎图”、“台番图”等来分类进行指称。清代少数民族图册以绘图形式保留大量珍贵的少数民族形象资料,是一份宝贵的民族文化遗产,对于中国少数民族历史、文化、艺术研究有着十分宝贵的价值。从十九世纪开始,一批来华的西方政府官员、传教士、探险家、商人、学者出于各种不同的目的,广泛搜集“苗图”,致使大量有价值的“苗图”珍本、孤本流落海外,主要收藏在英国、德国、法国、美国、意大利等国图书馆、博物馆、研究机构及个人手中。“苗图”作为传播到海外的中华民族文化资料的一部分,已融汇入西方的史学、汉学、中国学的发展脉络之中。在当代,随着人文学科的发展,苗图研究在国外呈现出民族史、艺术史、文化人类学等不同学科视域与方法交叉融汇的面貌,产生有一定影响的代表人物和研究成果。本研究的内容一是梳理国外“苗图”的收藏状况,介绍并重点考证珍贵版本资料,与国内藏品比较;二是勾勒国外不同历史阶段的研究进展,介绍西方史学、人类学新的研究视野和方法,探讨、阐释其研究成果;三是借鉴中外研究成果,在中国历史文化的语境下阐释“苗图”“表征”的价值、意义;四是从文化批评角度,对作为整体的近代西方“苗图”研究进行反思,提出对“殖民论”和“苗图”中的“他者”理论视角的批评。本研究采用研究方法是:一、文献分析方法。收集、整理、翻译海外不同版本的“苗图”信息。二、阐释学方法。利用中外历史文献、民族史志及表征理论,分析阐释图绘表征的历史文化内涵。三、田野调查法。对“滇夷图”所描绘的滇南少数民族,有选择地进行现代民族学考察,收集有关信仰、历史、民俗的实证资料。四、比较的方法。对中外“苗图”版本、研究的方法与成果进行比较。本研究有以下创新点:一、首次全面系统介绍国外搜集、收藏、研究“苗图”状况,并进行“意义”阐释,为国内清代少数民族图册研究提供大量有价值的信息。二、为“苗图”正名。在梳理了海外八国共五十多种收藏版本信息并与国内版本进行比较考证的基础上,作者提出:滥觞于清代的中国少数民族图册,相互影响,但不同地域的图册又各具特色,自成系统。以“苗图”概称有失偏颇。具体分类,可名之为“黔苗图”、“滇夷图"、“番夷图”、“楚苗图”、“琼黎图”和“台番图"等。三、依据英国和德国的珍本收藏,考证出二部“滇夷图”的作者是赵九州和贺长庚,并详考其生平履历,为进一步探讨“滇夷图”图册的产生时间、图册的体系以及阐释图册的社会历史价值,提供了可靠依据。四、把作为历史民族志的“苗图”放在中国民族志研究的发展脉络中,将其与近现代的民族志成果联系起来,通过对云南文山县的调查,对“滇夷图”册的部分内容做出一种现代民族志的“回应”。五、通过对国外“苗图”研究的述评,揭示跨学科研究、中西交流的发展趋势,同时指出:西方学者在处理“苗图”本身及其绘制者、描绘对象之间的关系时,没有很好地依据、关注整体的中国社会文化历史背景,他们将“苗图”与世界民族志勾连起来,试图在更宏大的世界史领域进行阐释时,缺乏历史的维度与理据,以“苗图”为依据提出的“殖民论”以及将“苗图”作为汉人对少数民族的“他者”描述的观点,源于“西方中心主义”的立足点和意识形态,决定了其对“苗图”阐释的话语差异。作者指出:“苗图”在多元一体的中华民族发展的历史格局中,具有不可割裂性。这一格局中的“他者”,是“整体”中的他者。更多还原

【Abstract】 In this paper, the researcher used "Miao Album" to refer to albums which were compiled in Qing Dynasty (or Ming Dynasty), and were about ethnic groups in southwest China .Some other albums, originating far from the southwest region, with images of minorities as content , should also be assigned to the "Miao Album" list in a wider sense. These albums used to be called as "Miao albums", "Miau albums ",or "Miao-tze Albums" in West works. Considering that the albums reflected geographical and ethnic diversity, the researcher suggested to use "Qian Miao Album", "Dian Yi Album," "Chu Miao Album ", "Qiong Li Album ", "Tai Fan Album " and so on, as classification. In our study, "Miao Album" is a valuable national cultural heritage, which provides great image data for the study of Chinese history, culture and art.From the beginning of the nineteenth century, a number of western government officials, missionaries, explorers, businessmen, academics, etc, with different purpose ,began to collect "Miao Album" extensively, which caused many valuable and rare albums brought overseas, and mainly stored by museums, libraries, research institutions and individuals in the United Kingdom, Germany, France, the United States, Italy and other countries. "Miao Album " ,as a part of the documents about Chinese civilization they took back, was integrated into the development of Western sinology and Chinese study. In contemporary time, with the development of the humanities and exchange of ideas, disciplines or methods, western schools such as art history, cultural anthropology, etc, have taken great interest in "Miao Album", and a certain number of representative researcher and works have arisen.Firstly, the research recorded as many as the collections of "Miao Album" abroad, and compared them with those of our country. Secondly, the research outlined the progress of foreign research on "Miao Album", introducing and exploring different methods and works of history, anthropology, etc. Thirdly, based on the achievement of Chinese and foreign study, the research tried to explore the representation of "Miao Album" and it’s values under the context of Chinese history and culture. Fourthly, according to the perspective of cultural criticism, the research made reflection on foreign research of "Miao Album" and put forward criticism on the "colonialism" theory and the "other" theoretic perspective.The researchers used some methods to carry out studies, such as collecting, reorganizing, translating information of different editions overseas, analyzing and interpreting values of the "Miao Album" according to representation theory, carrying on field investigation of ethnic groups in Yunnan Province who had been depicted in some "Dian Yi Albums", conducting a comparative study on editions and methodology in our country and abroad.The innovation of this research is as follows:First, the research gave an introduction of foreign collections and studies comprehensively and systematically for the first time. Second, the research suggested that although the albums might have some effect on each other ,it had been testified that those of different regions had unique styles ,so they should be classified as "Qian Miao Album ", " Dian Yi Alblum " etc. Third , the research tried to trace the personality history of two authors: Hechanggeng and Zhaojiuzhou, who complied Albums stored in Britain and Germany, so that it could provide reliable basis for exploring some origin and values of "Dian Yi Album". Fourth, by making an investigation in Yunnan Province, the research established a link between "Miao Album" as history ethnography and field survey as modern ethnography. Fifth, through reviewing the western studies on "Miao Album", the research pointed out that when western scholars dealt with the relationship among the "Miao Album", it’s author and the reader, they might ignore the historical-cultural background of China and it’s social tradition, so their interpretation lacked Chinese historical dimension. Their theses on "colonialism" and their points of view of taking the "non-Han" ethnic groups as "the other ", might be based on "western-center" ideology, which resulted in the differences of their interpretation. The researcher stressed that "Miao Album" originated from multi-culture unity and should not be dissevered, the "other" must be integrated in one unity.更多还原