青海彩陶人物图像与甲骨文字形体及民俗文化遗产的叙事渊流  

Qinghai Painted Pottery Character Images and the Narrative Flow of Folk Cultural Heritage

作　　者：梁玉金[1] Liang Yujin

机构地区：[1]青海大学人文素质教育中心,青海西宁810016

出　　处：《高原文化研究》2023年第1期42-56,共15页Plateau Culture Research

基　　金：全国哲学社会科学规划一般项目“神话符号在丝路南线河湟段多民族口传文学与民俗中的衍化研究”(项目编号:16BZW171);青海省重大科技专项项目“青稞提质增效关键技术研究与示范”(项目编号:2021-NK-A3)子课题“青海产为经济与青稞文化研究”阶段性成果。

摘　　要：我国文字的早期形体大多数是线条图像,这些图像与原始时期彩陶、岩画上的动物、人物及活动场景等有渊源关系。青海地区彩陶上的人物图像多是展现古代祭祀活动的舞蹈场景,也是原始部落集体盛会的记录载体。彩陶人物图像的叙事不仅是我国先民原始思维的独特叙事形式,也是我国文化的早期母题。通过对彩陶人物和甲骨文字形体的图像叙事比较分析,发现两者存在演变的一致性。结合青海及文化传播相关地区历史长河中的文物图像和民俗文化遗产的资料,文字形体图像之外,彩陶人物图像的叙事还存在另一条文化连绵发展的线索。本文主要以青海彩陶"二人抬物献祭"彩陶盆的主体图像■互为例,首先探究此人物图像所叙祭祀场景与甲骨文"■""■""■""■"等字(疑为今"公"字)的渊源关系;抬祭物的两个侧面之人"■""■"与甲骨文"■""■""■""■""■""■""■"(今"尸"或"人"字)等字,与金文"■"(疑为今"元"字)和"■"(今"巫"字)等字之间的渊源关系;献祭的物"■"与"■""■""■""■""■""■"(今"酉"字)等字之间的渊源关系。三者成为"公""人""酉"做造字部首的最初基本形体。其次,从历史时期的文物图像和青海多民族民俗文化遗产中,探究"巫""尸""神尸(神祗)"文化叙事的延展。在青海口传文学中还保留着较多数量的"尸语"系列故事,其叙事虽然受外来宗教文化的潜在影响,但从"尸"、青海原始丧葬、"骨骼"的灵魂观念看,更深层次的来源是上古时期中国本土的原始宗教。再次,从叙事学的角度来说,甲骨文字形从"尸"字到"仁"字的形体变化历程,是中国文化的文明进程,也是中国哲学逐步走向成熟的标志。Most of the early forms of Chinese characters are line images,which are closely related to the animals,figures and activities on the colored pottery and rock paintings in the primitive period.Most of the characters on the colored pottery in Qinghai are the dance scenes showing the ancient sacrificial activities,and also the recording carriers of the collective gathering of the primitive tribes.Colorful pottery characters are not only the unique narrative form of the original thinking of Chinese ancestors,but also the early motif of Chinese culture.Through the comparative analysis of the image narrative of painted pottery characters and oracle bones,it is found that there are distinct consistency.Combined with the data of cultural relics images and folk cultural heritage in the long history of Qinghai province and the cultural communication related areas,there is also another clue of cultural development in the narrative of the painted pottery figure images.This paper mainly takes the main pattern of the painted pottery"two people sacrifice"(■)as an example,and first explores the origin relationship between the sacrificial scene and the character("■""■""■""■"(maybe Chinese"公");the character"■""■"and"oracle","■""■""■""■""■""■""■"(Chinese"尸"or"人"),inscription"■"(maybe Chinese"元")and"■"(Chinese"巫");and the origin relationship between the sacrifice"■"and"■""■""■""■""■""■"(Chinese"酉").The three become the original basic form of"公""人"and"酉"to make the characters.Second,explore the extension of the cultural narrative of Chinese"巫","尸"and"神尸"(corpse or god)from the cultural relics images in the historical period and the multi-ethnic folk cultural heritage of Qinghai Province.There are still a large number of Chinese"尸语"(corpse language)series stories in Qinghai oral literature,whose narrative has the potential infuence of foreign religious culture,but from the soul concept of Chinese"尸语"(corpse),primitive funeral in Qinghai and"bone",the deepe

关 键 词：青海彩陶 人物图像 甲骨文字 民俗文化 叙事渊流 

分 类 号：K877[历史地理—考古学及博物馆学]