永顺土司建筑艺术王权独尊和国家认同的文化象征与隐喻

The Cultural Symbols and Metaphors of the Regalism and National Identity Embodied in Yongshun Tusi Chieftain Architecture

格罗塞和博厄斯等均认为民族艺术起源于民族文化表达方式与表现形式的需要,从而一种建筑艺术本质上是民族文化表现自我的情感符号与意味形式。作为土司文化物化载体的土司建筑艺术,永顺彭氏土司建筑既需要承载“彭公爵主”的王权独尊观念,也需要表达“王化归顺以正朔守望”的国家认同观念。透过永顺彭氏土司建筑艺术“都城布局”理念、“王城型制”观念和“王宫物化”符号等方面所蕴含的文化象征与隐喻现象,可以清晰地获得土司建筑艺术王权独尊和国家认同观念的直观形象呈现形式和表达方式,从而获取与方志文本相互映衬又互为佐证的历史记忆,并进一步弥补和丰富作为抽象文字符号的方志文献在“土司王权”和“国家认同”上的不足和缺憾,更加直观地展现土司接受与认同中原正统和道统文化而“华夷一统”的国家观念。

Grosse and Boas,among others,believe that ethnic art originates from the need for ethnic cultural expression and representation,thus a form of architectural art is essentially an emotional symbol and semantic form of ethnic cultural self-expression.As a materialized carrier of Tusi culture,the architectural art of the Peng Tusi in Yongshun needs to bear the concept of the exclusive royal supremacy of the“Duke Peng”,and also needs to express the national identity concept of“returning to the royal culture to guard the correct order”.Through the cultural symbols and metaphoric phenomena contained in the“capital layout”concept,“royal city system”concept,and“royal palace materialization”symbols of the architectural art of the Peng Tusi in Yongshun,we can clearly obtain the intuitive image presentation form and expression method of the Tusi architectural art's exclusive royal supremacy and national identity concept.This allows us to acquire historical memories that mutually corroborate and support the local chronicle texts,further supplementing and enriching the deficiencies and regrets of the local chronicle literature as abstract textual symbols in terms of“Tusi royal supremacy”and“national identity”,and more intuitively demonstrating the national concept of“unifying Chinese and barbarians”as Tusi accepts and identifies with the orthodox and Taoist culture of the Central Plains.