西藏岩画中的“鸟图形”

Bird Graphs in Tibetan Rocky Paintings

西藏岩画中数量丰富的“鸟图形”,显示出“鸟(鹰)”在西藏早期文化中的特殊地位,后期相当部分的“鸟图形”岩画,看上去颇有些超自然的意味,但早期岩画中的鸟图形可能仍是高原自然生态环境的一种表现,只是随着苯教文化的发展,逐渐赋予了鸟图形以特殊的意义。据苯教文献记载,古代象雄部落是神鸟“(?)”(穹)的后裔,西藏岩画中这些带有神秘意义的“鸟图形”,显然与古代象雄部族的神鸟“穹”的崇拜习俗有直接关系。西藏岩画中丰富多彩的“鸟巫”形象也向我们证实:古代象雄苯教巫师在做法事时,力图将自己打扮成鸟形,不仅用以显示巫师不同寻常的魔力,更重要的是与神鸟“穹”保持精神上的一致,“鸟巫”正是古代象雄部族“鸟图腾”文化的一种延伸。西藏岩画以其极为生动丰富的图像,成为古代象雄文化发展过程的形象注解,在古代象雄文化缺乏考古实物的今天,它们无疑将是我们解读神秘的古代象雄文化的一个重要途径。

There are not only numerous ＂bird graphs＂ in Tibetan rocky paintings, but the paintings also convey certain super natural characteristics. In other words, they function as ＂bird totems＂, According to Bon religious documents, the ancient Zhang Zhung tribe is descended from the holy bird ＂Khung＂. Obviously, the ＂bird graphs＂ in Tibetan rocky paintings which convey mysterious meanings are directly related with the Zhang Zhung tribe＇s folk worship of the ＂Khung＂ bird. The rich and colorful ＂bird wizard＂ images in Tibetan rocky paintings also indicate that when ancient non shamans carried out their religious ceremonies, they dressed like birds in order to show their special magic power and to spiritually identify with the holy bird ＂Khung, ＂ Today, since there is a lack of archeological artifacts about the ancient Zhang Zhung culture, the lively and rich images in Tibetan rocky paintings are undoubtedly a significant way to explain and read the mysterious ancient Zhang Zhung.