从左江花山岩画文化看中国文化统一性  

EXAMINING CHINESE CULTURE'S UNITY FROM THE ROCK PAINTING CULTURE OF HUASHAN IN ZUOJIANG

作　　者：韦福安[1,2] 么加利[1] Wei Fuan;Yao Jiali

机构地区：[1]西南大学西南民族教育与心理研究中心,重庆400715 [2]广西民族师范学院

出　　处：《广西民族研究》2022年第2期166-173,共8页GUANGXI ETHNIC STUDIES

基　　金：重庆市人文社会科学研究重点项目“西南边境少数民族文化自信提升研究”(18SKB049)。

摘　　要：考察中国文化统一性在不同时期不同的在地表现形式,是“在地理解”中国文化统一性的重要途径。历史人类学研究表明,左江花山岩画的内容与东南沿海古代越人、西南濮人和左江区域原住民都有文化渊源,反映了春秋以来南部边疆地区民族交往交流交融和区域文化统一性形成的历史图景。作为左江花山岩画文化主题的蛙图腾崇拜,吸收了仰韶文化蛙图腾崇拜元素而形成且独具地域特色;在民族分分合合的漫长历史进程中,骆越及其后裔的蛙图腾崇拜也以不同的形式和载体北传,左江花山岩画文化因而成为中国文化统一性的重要文化基因之一。“一统多彩”是中国文化统一性的一种在地表现形式,构成了另一种在地理解中国文化统一性的理论框架。To examine various local presentation forms of Chinese culture's unity in different periods is an important way to understand locally the unity of Chinese culture.The studies of historical anthropology have shown that the content of Zuojiang Huashan rock paintings has cultural origin with the ancient Yue people along the southeast coast,the Pu people in the Southwest,and the aborigines of Zuojiang region,reflecting the historical picture of ethnic exchange,communication,and integration and the forming of regional culture unity in the southern border region since the Spring and Autumn Period.The frog totem worship,as the cultural theme of Zuojiang Huashan rock painting culture,has absorbed the elements of frog totem worship in Yangshao culture to form its unique regional characteristics.In the long historical process of ethnic separation and integration,the frog totem worship of Luo Yue people and their descendants also spread northward in different forms and carries,and Zuojiang Huashan rock painting culture has thus become one of important cultural genes of Chinese culture's unity.Unity with multiple colors is a local presentation of Chinese culture's unity,constituting another theoretical framework for understanding locally the unity of Chinese culture.

关 键 词：左江花山岩画 蛙图腾崇拜 中国文化 统一性 

分 类 号：C95[社会学—民族学]