本文選題：巖畫 + 新疆阿爾泰　； 參考：《新疆師范大學》2015年碩士論文

【摘要】：巖畫是指人類為表述特定思想,描刻于洞穴或露天巖石上的圖案或符號。巖畫作為史前遺存,特別之處在于巖畫這種文化現象并不囿于某個特定的區(qū)域范圍內,而是遍及世界各地。巖畫作為文化形式,特殊之處在于其制作貫通古今。從歷時性與共時性兩個角度綜合來看,巖畫可謂名副其實的人類共有的文化遺產。環(huán)阿爾泰山系巖畫的研究,在世界巖畫的研究中地位特殊,一直是歐美草原巖畫研究的焦點。但國內阿爾泰山系的巖畫研究還較為缺乏,隨著全國第三次文物普查的結束,國內阿爾泰山系的巖畫才較體系、全面地展示在世人面前。在巖畫的闡釋方面,也多忽視其宗教象征意義。巖畫的刻繪圖案是一個個充滿宗教象征意義的符號,是表達史前思維、史前宗教觀念的重要載體。將新疆阿爾泰山系的巖畫視為一套符號體系,將巖畫中看似散亂的符號進行梳理,找出其刻畫的內在規(guī)律,并依據巖畫符號刻畫的內在規(guī)律探究這些符號的宗教象征性及具體的宗教象征意義。以符號的視角分析新疆阿爾泰山系的巖畫,我們可以得出如下結論。第一,新疆阿爾泰山系巖畫中寫實性的動物巖畫應被視為一種概念的反映而非單純的寫實性描摹。其中巖畫中的羊圖案是反映豐產崇拜的符號,鹿與通天信仰有關,馬與大地的信仰有關。符號羊猶如一個大容器,新疆阿爾泰山系區(qū)域內反映宗教象征含義的各種要素幾乎都可以添加在羊符號上,這也體現了新疆阿爾泰山系巖畫的區(qū)域性特點。第二,場景式的巖畫可被視為符號的組合。其中出現人物、弓箭、動物的巖畫常被視為狩獵場景,實則是反映豐產崇拜的符號組合。狼捕食動物這種場景的刻繪也是符號的組合,有宗教象征意義。對獸符號中對馬符號出現得最早,對馬符號曾是雅利安、吐火羅等文明體系中的“對馬神”。第三,巖畫符號的刻繪要素、組合要素也可反映出宗教象征性。以巖畫符號的刻繪要素來說,符號的重疊刻繪與巖畫點的選址有關,是出于宗教活動的需要。對于新疆阿爾泰山系的巖畫來說,刻繪點的選擇也有其內在規(guī)律,皆依山靠水而刻繪,這與人類宗教信仰系統(tǒng)里根深蒂固的“山父河母”之觀念相關。史前巖畫的刻繪過程我們今日已無從考證,但巖畫的外部環(huán)境與巖畫的內容則是我們探究史前思想與史前宗教的重要載體。
[Abstract]:Rock painting refers to a pattern or symbol carved on a cave or an open rock to express a particular idea.As a prehistoric relic, rock painting is a cultural phenomenon which is not confined to a specific region, but all over the world.Rock painting as a cultural form, the special place lies in its production through ancient and modern.From two angles of diachronic and synchronic, rock painting is the common cultural heritage of mankind.The study of the rock paintings in the Altai Mountains has a special position in the study of rock paintings in the world, and has always been the focus of the study of grassland rock paintings in Europe and America.With the end of the third national cultural relic survey, the rock paintings of the Altai series in China are relatively systematic and fully displayed in front of the world.In the interpretation of rock painting, it also ignored its religious symbolic significance.The engraved patterns of rock paintings are symbols full of religious symbolism and an important carrier to express prehistoric thinking and prehistoric religious ideas.Regarding the rock paintings of the Altai Mountains in Xinjiang as a set of symbol systems, combing the seemingly scattered symbols in the rock paintings and finding out the inherent laws of their depictions,The religious symbolism and the specific religious symbolic significance of these symbols are explored according to the inherent law of the symbols of rock paintings.From the perspective of symbols, we can draw the following conclusions by analyzing the rock paintings of the Altai Mountains in Xinjiang.First, the realistic animal rock paintings in the Altai series rock paintings in Xinjiang should be regarded as a reflection of a concept rather than a simple realistic description.Among them, the motif of sheep in rock paintings is a symbol reflecting the worship of fertility, the deer is related to the belief in the whole sky, and the horse is related to the faith of the earth.Symbol sheep is like a big container. Almost all the elements reflecting religious symbolism can be added to the symbol of sheep in Altai Mountains region of Xinjiang which also reflects the regional characteristics of rock paintings of Altai Mountains in Xinjiang.Second, the scene-style rock painting can be seen as a combination of symbols.Among them, figures, bows and arrows, animal rock paintings are often regarded as hunting scenes, but it is a symbol combination of fertility worship.The engravings of wolf-prey animals are also a combination of symbols with religious symbolism.The symbol of the opposite horse appeared first, and the symbol of the horse was the god of the horse in the civilization system such as Aryan and Huoluo.Third, the engraving elements and the combination elements of rock painting symbols can also reflect religious symbolism.The overlapping engraving of the symbols is related to the site selection of the rock painting points, which is due to the need of religious activities.For the rock paintings of the Altai Mountains in Xinjiang, the selection of engraving points also has its inherent law, which is related to the deep-rooted concept of "father and father of mountains and rivers" in the religious belief system of human beings.The process of engraving prehistoric rock paintings can not be verified today, but the external environment of rock paintings and the contents of rock paintings are important carriers for us to explore prehistoric thoughts and prehistoric religions.
【學位授予單位】：新疆師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：K879.4
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本文編號：1738452