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題名 | 與太陽有關的神--野豬=The Wild Boar: A Sun Spirit |
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作者 | 林巳奈夫; Hayashi, Minao; |
期刊 | 故宮學術季刊 |
出版日期 | 20050300 |
卷期 | 22:3 民94.春 |
頁次 | 頁1-15+131 |
分類號 | 215.27 |
語文 | chi |
關鍵詞 | 野豬; 河姆渡文化; 良渚文化; 太陽; 眼睛; 鳥; Boar; Ho-mu-tu culture; Liang-chu culture; Sun; Eyes; Bird; |
中文摘要 | 從河姆渡遺址第四層,發現了刻劃著背負同心圓天體的鳥或野豬的圖像。若說鳥運送的同時圓天體是太陽的話,那麼軀體上刻劃同心圓的野豬,不也是背負太陽的野豬嗎?四方形的陶缽上,刻劃著腹部有同心圓的野豬圖像,其眼精也是以大的同心圓表示的,且帶有光芒,此也意味著野豬的眼精變成太陽了。而每天從東邊的天空運行到西邊的天空的太陽,是如何回到東邊的呢?漢代的傳說中記載著,有十個太陽,從扶桑樹枝上,一天一個太陽運行到西邊,然關於回程的事情卻沒有記載。因為太陽的運行是有順序的,因此每一個太陽一定要在十日之內,從西邊回到東邊的出發點。十日一次,要花一天的工夫作回程旅行,並不是容易的事。沒有效通工具,加上太陽從天空下降至地面的著落點,多半是在原野?或森林?那樣的地方,能夠找到的,大概就是野豬了。因此,若要利用交通工具的話,自然想到的就是野犽。古時候的人也應該是這樣思考的羆。若走陸地回去的話,野豬應該會走獸路(與「道路如禽鹿徑」有相通之處。《三國志.魏書》三十卷,東夷倭人傳,對馬國條)河姆渡文化的人們經常狩獵,因此對這樣的事情是相當清楚的,而夜路是暗的,借著將太陽安在眼睛上,當頭燈照明。 比河姆渡文化晚,約紀元前四千年紀左右,在揚子江北?的凌家灘文化,有腦筋聰明的人,相信野豬不是走地面將太陽送回東邊的,而想像野豬是具有翅膀的,經由空間回去的。如此既不受到地上的道路所約束,也少巔跛。東京國立博物館收藏的良渚文化的野豬玉雕,沒有腳,臀部上方刻劃著將鳥羽收納在長戶形內的圖案,類似的表現也見於同文化的三叉形器等器物上,此一方形圖案表示的是,收納飛行工具的小箱子,相信用此可以飛行空中。 良渚文化也月僅表現河姆渡文化野豬頭的軟玉作品,或將幾個野豬頭浮雕排列在玉璜或玉環上的作品(蚩尤環)。這些野豬頭圖像,沒有腳、僅有卷成環形的軀體。從這類的遺物,可以見出此一時期,中國的南北開始交流,南北共通的遺物也出現了。為人熟知的北方紅山文化的所謂「豬龍」,是帶有大眼睛的野豬頭的卷曲動物,此一形像,推測即是良渚文化背負太陽的野豬移植過來的。 |
英文摘要 | The fourth strata of the Ho-mu-tu archeological site has yielded images of birds and wild boars bearing carved designs of heavenly bodies in concentric circles. If we say that the heavenly body borne by the bird is the sun, then is that of the boar the sun as well? The image of the boar, incised on the body of a square earthenware vessel, has eyes that are represented as concentric circles emitting radiance. This suggests a transformation of the eyes of the boar into images of the sun. How is it that the sun, which rises daily in the east and sets in the west, returns to the eastern horizon? Han dynasty legend held that there was a hibiscus tree bearing ten suns, and that each day one of the suns journeyed to the west. However, there is no record of how the suns made it back to the east. Since the suns travel in order, each has to find its way back to its point of origin in the east within ten days. To spend a day out of every ten making such a journey was not an easy task. There were no vehicles, and unlike their journey to the west, the return trip was overland, through uncharted wilds and trackless forests. The most common inhabitant of such terrain was presumably the cild boar. Thus, if one wanted to find a vehicle for the sun, the most natural candidate was the boar, and we can assume that ancient people reached a similar conclusion. When traveling overland, the boar probably followed game trails (in the sense of "a road like the trail of bird and deer." [San-kuo chih, Wei-shu, ch. 30]). The people of the Ho-mu-tu culture were hunters, and thus intimately familiar with the pathways of wild animals such as the boar. They also knew the darkness of these trails at night. Placing the sun in the eyes of the boar, in a sense, gave it headlights. Contemporary to the late period of the Ho-mu-tu culture, in approximately 4000 B.C., the intelligent people of the Ling-chia-nan culture, residing on the northern bank of the Yang-tzu river, believed that the sun was not carried back to the east overland, but rather flown through the sky by a winged boar. Such travel avoided the rugged mountains and other difficulties of land-based travel. The collection of the Tokyo National Museum contains a legless jade boar carved by the Liang-chu culture. The shoulders of the boar bear what appear to be carved representation of wings folded up into square frames. Similar images can be seen on three pronged objects produced by the same culture. These square motifs represent the boxes into which the means of flight were folded when not in use. The Liang-chu culture also produced nephrite carvings of disembodied boar heads, and shallow relief images of boar heads on jade huang pendants and huan rings. These boars are all legless, with serpentine, dragon-like bodies. It was at precisely this moment that the cultures of northern and southern China established regular contact, illustrated by the appearance of similar objects in the material culture of both regions. The well known pig-dragon of the Hung-shan culture also features large eyes and a boar's head situated atop of twisting serpentine body. The similarity of these forms strongly suggests that the Hung-shan pig-dragon was derived from the sun-bearning boar of the Liang-chu culture culture of both regions. The well known pig-dragon of the Hung-shan culture also features large eyes and boar's head situated atop of twisting serpentine body. The similarity of these forms strongly suggests that the Hung-shan pig-dragon was derived from the sun-bearning boar of the Liang-chu culture. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。