花山岩画与蚂节：南疆边地壮族社会整合的仪式——花山岩画与“蚂节”比较研究论文之二

HUASHAN ROCK PAINTING AND MAGUAI FESTIVAL:CEREMONY OF SOCIAL INTEGRATION OF THE ZHUANG IN THE SOUTHERN BORDER AREAS:The Second Paper on A Comparative Study on Huashan Rock Paintinghs and The Maguai Festival

蚂节和花山岩画中的核心角色"土司""大人"都是壮民族社会依生关系的体现,在这两种仪式活动中凝聚了壮族人民共同的信仰、文化象征和社会治理目的,包蕴了多重文化符号、凝聚了族群多重力量。壮族人民在这样的全民聚会狂欢活动中获得精神的归属、心理的安慰、生活的勇气和信心,实现情感的抒发和宣泄,社会治理者借助仪式象征获得了族群的认同与统治的合法性、促进了社会治理的实现,在民族共同体的形成和稳固及南疆边地民族社会的建构、民族性的加强方面发挥了重要作用。

"Chieftain" and "Huge portrait",the core characters of Huashan Rock Painting and Maguai Festival are all the embodiment of social dependence of the Zhuang. The common beliefs,cultural symbols and social governance purposes of the Zhuang are condensed in the two ritual activities. The Zhuang gain spiritual affiliation,psychological comfort,courage confidence of life and the realization of emotional bursts and catharsis in such a national gathering and carnival. The social administrators use the ritual symbol to obtain the legitimacy of ethnic identity and domination,promote the realization of social governance. It played an important role in the formation and stability of the national community and the construction of the national society in the southern border areas.