商周时期图腾崇拜文化变迁与鸟禽类意象群的演化

The Cultural Changes of Totem Worship During the Shang and Zhou Dynasties and the Evolution of Bird and Poultry Imagery Groups

商周时期的诗人们将远古时代神鸟图腾物中的祖先神之象、物候之象、司马之象、礼仪之象、凶猛之象、阳刚之象、慈祥之象、怪鸟之象、益鸟之象等意象原型,逐渐转换成为现实社会生活中的婚恋之象、贤者之象、政治生态环境之象、社会生活现象之象;同时,他们以“鸒”自由求食之象来象征太子宜臼被废嫡而失位,以捕“雉”之象来象征小人得志而君子罹祸。这些鸟禽类意象以图腾崇拜为前提,原始象征意义变得隐蔽,习惯性联想形式成为显性因素,从而显示出由图腾对象到占卜形式,再到民俗物候乃至审美意义动态变化的发展链条。由于鸟禽意象中融入了作者对自然观察的感受,展现了人们的日常生活场景与政治生态环境,使原始兴象所体现的习惯性联想与象征之间具有更多的相似点。诗人们以此来建立意义与兴象之间的多种关联,自然表现出多种象征意蕴,让读者产生一种感官愉悦之美、心灵愉悦之美与时空意识之美。

During the Shang and Zhou Dynasties,poets gradually transformed the image prototypes of ancestral gods,phenology,Sima,etiquette,ferocity,masculinity,kindness,strange birds,and beneficial birds in ancient bird totems into images of marriage and love,sages,political and ecological environments,and social phenomena in real life;At the same time,the image of“YU”freely see-king food was used to symbolize the deposed Crown Prince Yijiu,and the image of“capturing pheasants”was used to symbolize the success of a small person and the misfortune of a gentleman.These birds and poultry images were premised on totem worship,where the original symbolic meaning became hidden,and habitual associative forms became dominant factors,revealing a dynamic chain of chan-ges from totem objects to divination forms,to folk phenology and even aesthetic significance.The integration of birds and poultry images into the author’s observation and perception of nature,showcased people’s daily life scenes and political ecological environment,pres-enting more similarities between the habitual associations and symbols reflected in the original imagery,and thus establishing multiple associations between meaning and imagery,naturally expressing various symbolic meanings,giving readers a sense of sensory pleasure,spiritual pleasure,and spatiotemporal consciousness beauty.