文化分期视角下的红山文化女性塑像再考察  

A Further Study on the Female Statues of Hongshan Culture From the Perspective of Cultural Phases

作　　者：李敖 张星德[1] Li Ao;Zhang Xingde

机构地区：[1]辽宁大学历史学院

出　　处：《北方文物》2022年第1期27-35,共9页Northern Cultural Relics

基　　金：国家社科基金项目“牛河梁遗址的补充整理与研究”(项目批准号:17BKG007)的阶段性研究成果。

摘　　要：红山文化女性塑像可分两类,小型者为延续本地亘古以来文化传统的丰产巫术道具;大型塑像是距今5500年左右,在西阴文化势力进入燕南,后冈系强势不在,辽西地区人群结构进一步复杂化,自然资源与社会资源面临重新分配的背景之下,红山人为了实现不同族群的认同、共生,在以往强调女性丰产的宗教系统之上,创造出来的以信奉血缘祖先为形式,旨在实现凌驾于血缘之上的行政统治一体化的祖先神或至上神。祖先神的出现,是红山人开启文明之门的开端。The female statues of Hongshan culture can be divided into two categories:the small-scale statues were used as the witchcraft props to pray for high female fertility in the local area since the ancient times,while the large-scale ones were created by the Hongshan people as the Ancestor God or the Supreme God in order to achieve identity and symbiosis among different ethnic groups around 5,500 years ago when Xiyin culture entered the south of Yan and the power of Hougang Clan declined,with the population structure in western Liaoxi Region being further complicated,and the natural and the social resources facing redistribution.Creation of the Ancestor God was based upon the previous religious system which focused on female fertility and believed in blood ancestors,but actually the Ancestor God had administrative rule over blood linkage.The appearance of the Ancestor God is the start for Hongshan people to open the door to civilization.

关 键 词：红山文化 女性 塑像 巫术 祖先神 

分 类 号：K871.13[历史地理—考古学及博物馆学]