“苗女”争论及其背后——论20世纪80年代初期苗族知识界的民族意识的“骚动”

The Argument about the Woodcarving Works "Miao Nationality Maid" and its Background——On the Turmoil of Ethnic Sense in Miao Nationality Intellectual Circles during the Early 1980s

20世纪80年代初期,在贵州省文艺界,围绕着对汉族美术家创作的作品——木雕"苗女",曾爆发过一场激烈的争论。本文透过对这一个别事件的追踪与展开,考察了这时期普遍见于苗族社会的知识精英群体中的民族意识"躁动"现象及相关背景。在此基础上,通过对苗族知识分子群体成长过程的回顾,揭示出他们的"民族认同"形成的"边界",本质上并非源于所谓的共同的文化,而是在与外界的互动过程中得以成形并不断被强化的。进而通过对历史上从"苗"到"苗族"过程的简要追溯,对影响苗族作为近代民族集团形成的"他者呈现"问题,提出了初步独到的理论思考。

During the early 1980s,in the circle of literature and art of Guizhou province,the woodcarving works＂Miao nationality Maid＂created by an Han nationality artist has ever aroused a fierce argument.This paper discusses about the turmoil phenomenon of ethnic sense and its relative background in the Miao nationality intellectual circles by tracking and analyzing the special event.On the basis of this,by revewing the growth course of Miao ethnic elites,the article reveals that the＂border＂formed by their self-ethnic identity actually does not originate from the so-called common culture,but gradually shaped and intensified in the course of interacting with the outside world.Furthermore,the author of this article gives some insightful views about the issue of the＂otherness rendering＂which will influence the Miao nationality to become a modern ethnic group by briefly tracking the course of＂Miao individual＂becoming＂Miao Nationality＂in the history.