具茨山地区史前凹穴岩画的文化解读

发布时间：2018-04-12 23:26

本文选题：具茨山 + 凹穴岩画　；参考：《中央民族大学》2011年硕士论文

【摘要】：具茨山岩画于1988年被发现,由于其地处中国中原的核心区域,其数量之多、规模之大、分布之广,不仅填补了以往中原地区岩画考古发现的空白,而且极大地丰富了中原地区古文化的内涵,为该地区上古文化研究提供了又一新的实物资料,并改变了以往中国岩画分布的格局。因此,清华大学教授、中国社会科学院古代文明研究中心主任李学勤先生说：“具茨山岩画的发现和确认应该是一个划时代意义的重要发现。” 近年来,各界专家、学者纷纷来到此地考察,并试图从考古学、环境学、地质学、文化学、神话学等角度对具茨山岩画的年代和文化内涵等进行相关解读和研究,进而提出了关于具茨山岩画文化解释的若干假说。然而遗憾的是,这些解读陷入了一个共同的误区,即使用多个不同、甚至相互矛盾的理论体系去解读一个文化现象,结果难免令人质疑。 2009年9月24日至28日,笔者与中央民族大学龚田夫、张亚莎、肖小勇老师,著名考古学家王建新、汤惠生教授,张建林、蔡全法等多名考古学界及岩画学界的知名专家、学者赴河南新郑参加具茨山岩画调查报告会。专家们一致认为目前基本可以确认具茨山上存在着规模大、分布广、种类多、制作延续时间长的古代岩画和石构遗存,其中包括岩画、巨石、祭坛和石构建筑遗址,是目前可以确认的中原地区的比较完整的大规模古代石构遗址群。具茨山地区的岩画及大量分布的石构遗迹,是新石器时代晚期、早期农业文明的产物,其制作年代,最早可追溯至于史前时期,并一直延续至历史时期。 2009至2010年间,笔者三次深入具茨山,在老师的指导下进行了为期两个月的调查,与同学一起对具茨山禹州地区的青龙山、大鸿寨、九里山等岩画点的两千多个岩画个体严格地按照国家第三次文物普查的规范和田野考古新规程的要求进行了测量和记录,建立了茨山岩画电子档案,为本文积累了大量的一手资料。本文共分三部分：第一章首先介绍具茨山岩画的地理、自然、历史和石构环境,使读者对具茨山岩画有大致的感性认识；第二章介绍具茨山岩画的几种类型,并对本文的研究对象和范围进行讨论,对象确定为制作于史前时期的具茨山凹穴岩画。第三章首先介绍了学术界对具茨山岩画释读的几种假说,并加以分析和批判,指出其误区。并在此基础上,提出了自己的观点,即具茨山地区的史前凹穴岩画应源自于早期的萨满文化,其背后存在着一套严谨系统的思维象征体系。本文认为运用萨满文化的思维体系去解读具茨山凹穴岩画,可以对诸多凹穴形式的岩画做出符合共同逻辑的文化解读,避免陷入以往岩画研究中望图生意、主观臆想的误区,从而较真实地还原岩画背后隐藏的古代人类的精神世界。
[Abstract]:Rock paintings in the Shutz Mountains were discovered in 1988. Because they are located in the core areas of the Central Plains of China, their number, scale and distribution are so large that they not only fill the gaps in the archaeological discoveries of rock paintings in the Central Plains in the past.Moreover, it greatly enriches the connotation of ancient culture in the Central Plains, provides a new material for the study of ancient culture in this area, and changes the pattern of the distribution of Chinese rock paintings in the past.Therefore, Mr. Li Xueqin, a professor at Tsinghua University and director of the Research Center for Ancient Civilization of the Chinese Academy of Social Sciences, said: "the discovery and confirmation of rock paintings in the Shutz Mountains should be an important discovery of epoch-making significance."In recent years, experts and scholars from all walks of life have come here one after another to study and study the age and cultural connotation of rock paintings in the Yutzishan Mountains from the perspectives of archaeology, environment, geology, culture, mythology, etc.Furthermore, some hypotheses about the cultural interpretation of rock paintings in the Jutz Mountains are put forward.Unfortunately, however, these interpretations fall into a common misconception, even using multiple different, even contradictory theoretical systems to interpret a cultural phenomenon, the results are inevitably questionable.From September 24 to 28, 2009, the author and many other well-known archaeologists, such as Gong Tianfu, Zhang Yasha, Xiao Xiaoyong, famous archaeologists Wang Jianxin, Tang Huisheng, Zhang Jianlin, Cai Quanfa, and other well-known experts in the field of rock painting,Scholars went to Xinzheng, Henan Province to participate in the investigation of rock painting meeting.Experts agreed that at present, it is basically possible to confirm that there are large scale, wide distribution, many kinds of ancient rock paintings and remains of stone structures, including rock paintings, giant stones, altars and stone structure sites, which have been produced for a long time.It is a relatively complete group of ancient stone sites in the Central Plains.The rock paintings and a large number of stone relics distributed in the Jutz Mountains are the products of the late Neolithic period and the early agricultural civilization. The earliest dates of their production can be traced back to the prehistoric period and continued to the historical period.Three times between 2009 and 2010, the author conducted a two-month investigation under the guidance of his teacher, and worked with his classmates on Qinglong Mountain, Dahongzhai, in Yuzhou District of Shutz Mountain.More than 2,000 individual rock paintings at the Jiuli Mountain and other rock painting sites have been strictly measured and recorded in accordance with the norms of the third National Cultural relics Survey and the requirements of the new regulations for field archaeology, and the electronic archives of the mountain and rock paintings have been established.It has accumulated a lot of primary data for this paper.This paper is divided into three parts: the first chapter introduces the geography, nature, history and stone structure environment of the rock paintings of the Shutz Mountain, so that the readers have a general perceptual understanding of the rock paintings of the mountains, the second chapter introduces several types of rock paintings of the Mt.The object and scope of this paper are discussed.The third chapter firstly introduces several hypotheses of interpretation of rock paintings in Yutshan, analyzes and criticizes them, and points out their misunderstandings.On this basis, the author puts forward his own point of view that the prehistoric cave rock paintings in the Jutzhan region should originate from the early shaman culture, and there is a rigorous and systematic symbolic system of thinking behind it.This paper holds that the use of shaman cultural thinking system to interpret the rock paintings of the cave in the Shutsi Mountains can make a cultural interpretation of the rock paintings in accordance with the common logic of many cave forms, and avoid falling into the misunderstanding of the business of looking at pictures and subjective assumptions in the previous studies of rock paintings.Thus more true restoration behind the rock painting hidden behind the ancient human spiritual world.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K879.4

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