摘要
本文认为中国新石器时代红山文化女神庙的发现给龙的起源研究带来崭新局面,因而从艺术人类学和比较图像学的角度重新审视猪、熊、鹿、虫四种原型假说,参照国际考古学界对“女神文明”的再发现,解读女神庙出土的熊与鹰泥塑的神圣蕴涵,并提出从熊女神崇拜到熊龙雕像的发生线索,以揭示在后代父权制的中原文明中失落的女神神话传统,及其在北方萨满文化中的遗存。文章还力图通过对“中国维纳斯”与神龙原型的关系考释,体现艺术人类学通观视野的方法论意义。
This paper holds that the discovery of the Goddess Temple of Hongshan culture in the Chinese New Stone Age turns a new leaf in the research of the origin of dragon, and therefore reexamines the hypothesis of the four archetypes of dragon-pig, bear, deer, and insects-from the perspective of art anthropology and comparative iconology. It takes as its reference the rediscovery of “goddess civilization” by international archeology; it interprets the divine connotation of the clay bears and eagles excavated from the Goddess Temple, traces the genetic lines from the worship of the bear goddess to the statue of the bear-dragon and their existence in the northern Saman culture. It also makes a textual analysis of the relation between the “Chinese Venus” and the archetype of the divine dragon, thus manifesting the methodological significance of the general survey of art anthropology.
出处
《文艺研究》
CSSCI
北大核心
2006年第4期23-33,共11页
Literature & Art Studies
