鱼鸟之变与化生思维——从阿勒泰"鸟啄鱼"岩画说起
The Rock Paintings of"Bird Pecking Fish"in Altay
王东辉1
作者信息
摘要
"鸟啄鱼"图像最早见于新石器时代的彩陶画中,是中国原始先民化生思维影响下的产物.原始先民认为鱼、鸟之间存在形体的转化,他们绘制"鸟啄鱼"图像的目的是希冀死者灵魂转化,从而获得另一种生命形态的新生.汉时,"鸟啄鱼"图像在化生的基础上,又衍生出了升仙与吉祥的文化内涵.新疆阿勒泰地区所见"鸟啄鱼"岩画,应当是受到了黄河流域彩陶文化的影响,是历史早期新疆与内地交流互动的结果.
Abstract
The image of"Bird Pecking Fish"was first seen in the painted pottery paintings of the Neolithic age,and it is the product of the Chinese primitive ancestors'metaplastic thinking.Primitive ancestors believed that there was a transformation between fish and birds.The purpose of drawing the image of"Bird Pecking Fish"was to hope that the souls of the dead would be transformed,so as to obtain the rebirth of another life form.In the Han Dynasty,the image of"Bird Pecking Fish"derived the cultural connotation of immortality and auspiciousness on the basis of metagenesis.The rock paintings of"Bird Pecking Fish"seen in Altay,Xinjiang,should be influenced by the painted pottery culture of the Yellow River Basin and the result of the exchange and interaction between Xinjiang and the inland in early history.
关键词
"鸟啄鱼"/化生/升仙/吉祥Key words
"Bird Pecking Fish"/metaplastic/immortality/auspiciousness引用本文复制引用
出版年
2021
NETL
NSTL
万方数据