西南地区蹲式人形岩画的形式与意涵回溯

A Retrospection of the Form and Meaning of“Squatting”Humanoid Rock Art in the Southwest of China

文章将"蹲式人形"岩画置于"原始艺术"的形式起源和族群文化象征意涵的两种范畴之中,以蛙、人、蹲式人形岩画符号之间的隐秘联结为逻辑起点,对蹲式人形岩画符号的生物性视觉起源、形式发展规律和象征意涵进行理论探讨。蛙是"蹲式人形"岩画的视觉来源,其间图像经历了从生物拟态到抽象符号化的过程,最终确立了程式化的"蹲式人形"岩画符号。蛙独特的生物属性使其与人的生产、生活象征性地联结在一起,通过对蛙神话这一族群信仰表达方式的结构主义神话分析,我们实际上看到的是壮族先民思维世界的真实性,即在良好的神人沟通所奠定的秩序下取得丰产和族裔壮大,而"蹲式人形"岩画符号正是这一思维隐喻的外在表征。

This paper discusses “Squatting” rock art from two aspects： the origin principle of the“primi原tive art”and its symbol meaning. On one hand, the frog is a visual source of “Squatting”rock art that hasgone from the process of biological mimicry to abstract symbolization. On the other hand, the metaphor of thefrog is intermediary between God and man, expressing concerns over the problem about “how to achieve cropharvest and ethnic reproduction” . The myth of the frog makes us see the authenticity of “the thinking world”of Zhuang’ s ancestors. The main manifestation of ethnic beliefs is myth, and“Squatting”rock art is the external symbolic expression of this inner thinking metaphor.