跨越边界:铜鼓民族考古学的三个范式

Crossing Bowndary:Three Paradigm on Ethno-archaeology of Bronze Drums

铜鼓民族考古学是为了解决铜鼓的使用问题而出现的。虽然鸟居龙藏以贵州发现的铜鼓为例首倡于20世纪初,但中国的铜鼓民族考古学的主流是在50年代的考古发现和民族调查基础上形成的,以直接历史类比为主要特征。铜鼓民族考古学研究范式的变迁显示出以今知古和以己推人的直接历史类比方法在材料和观念在如何实现跨越边界上缺乏必要的审慎,而汪宁生提出的夸富宴模式为解决铜鼓的使用问题提供了正确方向。本文在此基础之上,进而以情境分析方法完善了夸富宴范式,强调在充分理解不同学科材料的属性差异和学科的预置观念的情况下实现跨越材料和学科边界的综合研究,揭示铜鼓需要在与东亚大陆地区青铜文明显著有别的青铜文明类型下予以理解和认知。

Ethno-archaeology was introduced into the study of bronze drums with the purpose to explore their possible applications in original contexts. Its mainstream, featured by the direct-historical analog method, emerged by the stimulations of archaeological finds and investigations of ethnic minorities in the 1950s. Based on analyzing the continuous development of three paradigms, this paper proposes that the Potlatch paradigm provides a new and probable solution for the long-pending problem, further adjusts and enriches it by a contextual approach, and achieves the conclusion that bronze drums should be interpreted in a framework other than that of the bronze civilization in mainland East Asia.