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从蚌埠双墩陶器上七千多年的蚕茧蚕丝形刻画符号到红山文化玉雕神蚕形象,均可以视为无文字时代对蚕神的一级编码;这种原型编码形式率先将玉和蚕(丝、帛)两种物质结合为一体,甚至在商周以后仍能与文字编码并行不悖地发展延续。而甲骨文中出现“玉”和“丝”等字形时,二级编码宣告问世,书写的小传统由此开启。玉作为天地山川孕育的精英,蚕与丝作为宇宙生命循环变化无穷的典范,二者共同承载的神话观念是生命的变化与不变。帛是缫丝的结果——丝织品;而丝是神秘生物蚕吐出的结果;蚕是体现神力的变化象征。玉来自天,带有非凡超俗的神的禀性。玉也能够变化——其沁色,包浆,绺裂与复原。以玉为神和以蚕(丝)为神的观念结合,成就“精物”的深度想象。
From Bengbu Shuangdun pottery seven thousand years of silkworm cocoon silk-shaped symbols to the Hongshan culture jade God silkworm image, can be regarded as a textless era of silkworm god level encoding; the prototype encoding the first jade and silkworm (Silk, silk) two kinds of material as a whole, even after the Shang and Zhou can still go hand in hand with the text code development and continuation. The emergence of Oracle “” and “silk ” and other glyphs, the second-level code was announced, writing a small tradition thus opened. Jade, as the elite of heaven and earth, silkworm and silk as an infinite paradigm of the changing cycle of life in the universe, the myths and concepts carried by both are the changes and changes in life. Silk is the result of reeling - silk; silk is the result of mysterious biological silkworm spirits; silkworm is a manifestation of the changing power of the gods. Jade comes from the sky, with the innocent nature of God. Jade can also change - its Qin color, pulp, chapped and recovery. To jade as God and silkworm (silk) as God’s concept of combination, the achievement of “essence” of the depth of imagination.