本文選題：具茨山 + 凹穴巖畫(huà)�。� 參考：《中央民族大學(xué)》2011年碩士論文

【摘要】：具茨山巖畫(huà)于1988年被發(fā)現(xiàn),由于其地處中國(guó)中原的核心區(qū)域,其數(shù)量之多、規(guī)模之大、分布之廣,不僅填補(bǔ)了以往中原地區(qū)巖畫(huà)考古發(fā)現(xiàn)的空白,而且極大地豐富了中原地區(qū)古文化的內(nèi)涵,為該地區(qū)上古文化研究提供了又一新的實(shí)物資料,并改變了以往中國(guó)巖畫(huà)分布的格局。因此,清華大學(xué)教授、中國(guó)社會(huì)科學(xué)院古代文明研究中心主任李學(xué)勤先生說(shuō)：“具茨山巖畫(huà)的發(fā)現(xiàn)和確認(rèn)應(yīng)該是一個(gè)劃時(shí)代意義的重要發(fā)現(xiàn)�！� 近年來(lái),各界專(zhuān)家、學(xué)者紛紛來(lái)到此地考察,并試圖從考古學(xué)、環(huán)境學(xué)、地質(zhì)學(xué)、文化學(xué)、神話學(xué)等角度對(duì)具茨山巖畫(huà)的年代和文化內(nèi)涵等進(jìn)行相關(guān)解讀和研究,進(jìn)而提出了關(guān)于具茨山巖畫(huà)文化解釋的若干假說(shuō)。然而遺憾的是,這些解讀陷入了一個(gè)共同的誤區(qū),即使用多個(gè)不同、甚至相互矛盾的理論體系去解讀一個(gè)文化現(xiàn)象,結(jié)果難免令人質(zhì)疑。 2009年9月24日至28日,筆者與中央民族大學(xué)龔田夫、張亞莎、肖小勇老師,著名考古學(xué)家王建新、湯惠生教授,張建林、蔡全法等多名考古學(xué)界及巖畫(huà)學(xué)界的知名專(zhuān)家、學(xué)者赴河南新鄭參加具茨山巖畫(huà)調(diào)查報(bào)告會(huì)。專(zhuān)家們一致認(rèn)為目前基本可以確認(rèn)具茨山上存在著規(guī)模大、分布廣、種類(lèi)多、制作延續(xù)時(shí)間長(zhǎng)的古代巖畫(huà)和石構(gòu)遺存,其中包括巖畫(huà)、巨石、祭壇和石構(gòu)建筑遺址,是目前可以確認(rèn)的中原地區(qū)的比較完整的大規(guī)模古代石構(gòu)遺址群。具茨山地區(qū)的巖畫(huà)及大量分布的石構(gòu)遺跡,是新石器時(shí)代晚期、早期農(nóng)業(yè)文明的產(chǎn)物,其制作年代,最早可追溯至于史前時(shí)期,并一直延續(xù)至歷史時(shí)期。 2009至2010年間,筆者三次深入具茨山,在老師的指導(dǎo)下進(jìn)行了為期兩個(gè)月的調(diào)查,與同學(xué)一起對(duì)具茨山禹州地區(qū)的青龍山、大鴻寨、九里山等巖畫(huà)點(diǎn)的兩千多個(gè)巖畫(huà)個(gè)體嚴(yán)格地按照國(guó)家第三次文物普查的規(guī)范和田野考古新規(guī)程的要求進(jìn)行了測(cè)量和記錄,建立了茨山巖畫(huà)電子檔案,為本文積累了大量的一手資料。 本文共分三部分：第一章首先介紹具茨山巖畫(huà)的地理、自然、歷史和石構(gòu)環(huán)境,使讀者對(duì)具茨山巖畫(huà)有大致的感性認(rèn)識(shí)；第二章介紹具茨山巖畫(huà)的幾種類(lèi)型,并對(duì)本文的研究對(duì)象和范圍進(jìn)行討論,對(duì)象確定為制作于史前時(shí)期的具茨山凹穴巖畫(huà)。第三章首先介紹了學(xué)術(shù)界對(duì)具茨山巖畫(huà)釋讀的幾種假說(shuō),并加以分析和批判,指出其誤區(qū)。并在此基礎(chǔ)上,提出了自己的觀點(diǎn),即具茨山地區(qū)的史前凹穴巖畫(huà)應(yīng)源自于早期的薩滿文化,其背后存在著一套嚴(yán)謹(jǐn)系統(tǒng)的思維象征體系。本文認(rèn)為運(yùn)用薩滿文化的思維體系去解讀具茨山凹穴巖畫(huà),可以對(duì)諸多凹穴形式的巖畫(huà)做出符合共同邏輯的文化解讀,避免陷入以往巖畫(huà)研究中望圖生意、主觀臆想的誤區(qū),從而較真實(shí)地還原巖畫(huà)背后隱藏的古代人類(lèi)的精神世界。
[Abstract]:Rock paintings in the Shutz Mountains were discovered in 1988. Because they are located in the core areas of the Central Plains of China, their number, scale and distribution are so large that they not only fill the gaps in the archaeological discoveries of rock paintings in the Central Plains in the past.Moreover, it greatly enriches the connotation of ancient culture in the Central Plains, provides a new material for the study of ancient culture in this area, and changes the pattern of the distribution of Chinese rock paintings in the past.Therefore, Mr. Li Xueqin, a professor at Tsinghua University and director of the Research Center for Ancient Civilization of the Chinese Academy of Social Sciences, said: "the discovery and confirmation of rock paintings in the Shutz Mountains should be an important discovery of epoch-making significance."In recent years, experts and scholars from all walks of life have come here one after another to study and study the age and cultural connotation of rock paintings in the Yutzishan Mountains from the perspectives of archaeology, environment, geology, culture, mythology, etc.Furthermore, some hypotheses about the cultural interpretation of rock paintings in the Jutz Mountains are put forward.Unfortunately, however, these interpretations fall into a common misconception, even using multiple different, even contradictory theoretical systems to interpret a cultural phenomenon, the results are inevitably questionable.From September 24 to 28, 2009, the author and many other well-known archaeologists, such as Gong Tianfu, Zhang Yasha, Xiao Xiaoyong, famous archaeologists Wang Jianxin, Tang Huisheng, Zhang Jianlin, Cai Quanfa, and other well-known experts in the field of rock painting,Scholars went to Xinzheng, Henan Province to participate in the investigation of rock painting meeting.Experts agreed that at present, it is basically possible to confirm that there are large scale, wide distribution, many kinds of ancient rock paintings and remains of stone structures, including rock paintings, giant stones, altars and stone structure sites, which have been produced for a long time.It is a relatively complete group of ancient stone sites in the Central Plains.The rock paintings and a large number of stone relics distributed in the Jutz Mountains are the products of the late Neolithic period and the early agricultural civilization. The earliest dates of their production can be traced back to the prehistoric period and continued to the historical period.Three times between 2009 and 2010, the author conducted a two-month investigation under the guidance of his teacher, and worked with his classmates on Qinglong Mountain, Dahongzhai, in Yuzhou District of Shutz Mountain.More than 2,000 individual rock paintings at the Jiuli Mountain and other rock painting sites have been strictly measured and recorded in accordance with the norms of the third National Cultural relics Survey and the requirements of the new regulations for field archaeology, and the electronic archives of the mountain and rock paintings have been established.It has accumulated a lot of primary data for this paper.This paper is divided into three parts: the first chapter introduces the geography, nature, history and stone structure environment of the rock paintings of the Shutz Mountain, so that the readers have a general perceptual understanding of the rock paintings of the mountains, the second chapter introduces several types of rock paintings of the Mt.The object and scope of this paper are discussed.The third chapter firstly introduces several hypotheses of interpretation of rock paintings in Yutshan, analyzes and criticizes them, and points out their misunderstandings.On this basis, the author puts forward his own point of view that the prehistoric cave rock paintings in the Jutzhan region should originate from the early shaman culture, and there is a rigorous and systematic symbolic system of thinking behind it.This paper holds that the use of shaman cultural thinking system to interpret the rock paintings of the cave in the Shutsi Mountains can make a cultural interpretation of the rock paintings in accordance with the common logic of many cave forms, and avoid falling into the misunderstanding of the business of looking at pictures and subjective assumptions in the previous studies of rock paintings.Thus more true restoration behind the rock painting hidden behind the ancient human spiritual world.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：K879.4

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