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Astract：Jiama are images of gods printed on paper from woodlocks. They are mainly used in sacrificial activities， and closely reflect folk eliefs and folk life. The main suject matter to which Jiama refers is a series of gods and spirits/ghosts which exist within the spatial oundaries of peoples eliefs. So， the process of creating Jiama is not a simple description of specific ojects， ut a description and expression of concepts in peoples elief systems. Folk eliefs are the spiritual asis for the existence of Jiama. They are also the source of the symolic meaning of Jiama images， and they govern the process of making and using them . The deep symolic meaning emedded in the Jiama images originates from the knowledge systems related to folk eliefs. The more the kinds of gods are active in the folk elief systems， the more aundant the suject types of Jiama. This is the fundamental driving force of the Jiamas continuous innovation and evolution. At the same time， the degree of peoples knowledge aout and understanding of Jiama is related to their familiarity with folk eliefs. Therefore， it is helpful to study ojectively the present situation of folk eliefs y studying the system of the deities on the Jiama.
From the perspective of folk sacrificial rites， those rites prevalent in the village life of the Daliai people are the primary way to use Jiama， and these rites themselves ecome the most direct reason for the existence of Jiama. The linguistic environment must also e studied when analyzing the connotation of Jiama images. The producers of Jiama consolidated the symolic meaning in Jiama in the form of symols， and the users of Jiama used these ideographic symols to interpret the symolic meaning of Jiama within the context of the rituals. Every time a Jiama is used， it is accompanied y the recurrence and intensification of folk eliefs. A study of the deities and various religious factors which had a profound influence on Dali area throughout history ， and which provide a layer y layer analysis and description of them helps to sort out the religious culture of the Dali ai and presents clearly the cultural forms emodied within the Jiama.
The themes of the Jiama are related to the folk elief systems of a specific ethnic group in a specific area， and their usage is inevitaly related to sacrificial rites. Therefore， when analyzing the Jiama images， it must e from the perspective of culture and folklore. During the past ten years， scholars have conducted numerous indepth discussions and studies on Jiama from the perspective of folk customs， which involved the systems of the gods， cultural values， social functions， characteristic ways of thinking， sacrificial rituals and folk oral literature of Jiama. However， due to the extremely rich categories of Jiama images and the inconsistency of the images when they spread to different regions， current scholarly research on the cultural interpretation of specific Jiama images is still weak. Therefore， under a specific cultural ackground， it is only feasile to carry out a detailed image analysis of a specific type of Jiama， explain the cultural connotations of a specific image y comining the folk eliefs of specific users， and separate out the evolutionary process of a specific elief. The complex structure of the folk eliefs of the Dali ai people was formed y the accumulation and fusion of eliefs from different sources throughout a longterm historical process. The preference for the ancient versions of the Jiama in ai villages lends the Jiama images a historical continuity， illustrating the specific forms of various gods that are or were active in their elief systems over a long period of time. The particularity of the Jiama is that they can display diachronic cultural information within images that exist synchronically. This provides a asis for us to analyze the development trajectory of folk eliefs. Trees and wood are very common in the daily life of the Dali ai people. In most of the ai villages， there are several ancient trees， and these ancient trees often constitute one of the core areas of oth day to day life and religious activities of the villagers. In addition， a large amount of wood is used in the traditional residences of the ai. Thus， in the process of uilding a house， and until its completion， people are in contact with wood and the carpenter. Therefore， intensive sacrificial ceremonies and rituals are needed ones in which the Wood God participates. However， in these ritual activities， the peoples elief in Wood God is varied. People distinguish etween different kinds of Wood Gods， and， as such， they will choose different types of Jiama paper images. They will do this even though they cannot explain the differences and connections etween them; nor do they pay much attention to the cultural remnants associated with aspects of primitive religions which appear in the Jiama picture.
As for the Wood God in depicted in the Jiama which are now popular among the Dali folk， the use of trees and graphic elements related to trees are a it complex and diverse. There are images of processed timer， twisted ranches and large trees with complete ranches and leaves， as well as personalized images of the Wood Gods， Carpenter Gods， etc. Actually， all these images and symols contain aundant cultural information elonging to different periods of development of Wood God eliefs.
First of all， in the elief system of primitive nature worship， large trees are the medium of communication in the sacrificial rituals， and as such are a natural force that can influence natural disasters or human reproduction. They are worthy， sacred and inviolale. Large， ancient trees are depicted as Wood Gods directly in such Jiama paper images. Secondly， the idea that there are intelligent animals and human souls living in or under trees is a elief that directly affects folk prayers， disaster relief rituals， and funeral ceremonies. Such Jiama paper images will usually illustrate animals living in a symiotic relationship with trees.
Finally， trees may turn into independent spirits and these spirits may either e kind to people who are in distress or evil and can ring disaster. The former are loved and respected， and often ecome the Local God in some villages， while the latter is reviled and people keep away from them. Thus， a specific figure of a character image was usually used in this kind of personified Jiama paper image.
People in the Dali area elieve that trees are sacred， and cannot e harmed. Although wood from trees must e used for constructing their house， the Wood God is rewarded at first， and then sent away quietly after the completion of the house. As the characteristics of trees may e used y carpenters to frame their owners， the carpenter was given preferential treatment， and a sacrificial rite must e conducted for the Carpenter God. The image of a uilding was usually used in the Jiama image for the process of uilding houses， and prays offered for the peace of the owner of the house.
In conclusion， from the sacred tree， the tree God， the Wood God to the Carpenter God， the Jiama images cover almost all of the elements of the eliefs of the wood god ， and show the various levels of cultural characteristics superimposed within the folk elief system of the Dali ai ethnic area. This is to say that the type of image and its specific method of depiction in the Jiama can echo the development path of the wood god eliefs in the ai area of Dali. Furthermore， they depict a relatively complete elief system of the wood gods and their evolutionary history within the current system of folk eliefs.
Key Words： Jiama paper; ai ethnic people; Wood God faith
References：
Deng Qiyao.zongjiao meisu yixiang （Imagery and Art of Religion ）. Kunming： yunnan renmin chuanshe， 1991： 71.
Huang Ze. wenhua dieyadai：duominzu zaju quyu de wenhua cengji guanxi—yi yunnan weili （Cultural Laminated elt： Cultural Stratification of Multiethnic Mixed Areas―A Case Report of Yunnan Province ）. In Guangxi Ethnic Studies， 2000（2）.
James George Frazer.Golden ough （jin zhi）. eijing：dazong wenyi chuanshe， 1998.
Liu enxi， Li Heng， Long Chunlin. “shanhaijing” san da shenmu de zhiwuxue kao （otanical Verification of Sacred Trees in “Legend of Mountains and Rivers”）. In Plant Diversity and Resources， 2013， 35 （4）： 481 – 492. Nanzhao dali lishi wenhua congshu diyi ji： aiguo yinyou （History and Culture Series ooks of Nanzhao Dali， Volume I： The Cause of ai Kingdom ）. Chengdu： ashu shushe）， 1998： 19.
Yang Yusheng. yunnan jiama （Jiama Paper of Yunnan）. Kunming： yunnan renmin chuanshe， 2002： 227.
Yang Yusheng. dujuyige de aizu muke—jiamazi （Unique ai Woodcuts―Jiama Zi）. In Dali Culture， 1982（6）： 74.
Zhang Hongyu， Wen Yuan. Wu mo ji cuo –aizu congshu aishu xisu （“Wu Mo” Ji Cuo—the Respecting and Loving Trees Custom of the ai ）. In Plants， 1999（1）： 19.
Zhang Xu. aizu dui tiangui he enzhu de congai（The ai peoples Worship of the Heavenly Ghosts and the Local Lords ）. In dali aizushi tansuo （Exploration of the History of Dali ai People）.Kunming： yunnanrenmin chuanshe， 1990： 157.
Zhang Hongyu. guanyu heqing aizu “jiama” （Aout the Jiama of the ai in Heqing）. In Shan Cha （National Geographic now ）， 1992 （6）： 43.
The Social Cultural Landscape of the Ancient Dian People：An Interpretation of the Images on ronze Wares of the DianKingdom from the Perspective of the Anthropology of Art
Guo Jia
（School of Chinese Language and Literature， Yunnan University， Kunming， 650000，Yunnan， China）
JOURNAL OF ETHNOLOGY， VOL. 10， NO.2， 79-86， 2019 （CN51-1731/C， in Chinese）
DOI：10.3969/j.issn.1674-9391.2019.02.08
Astract：During the Warring States Period， the ronze culture of the ancient Dian Kingdom originated in the area of Dianchi， Yunnan. In the 1950s， the archaeological excavation of the Shizhai
Mountain site in Jinning initiated the study of the ronze culture of Dian， which unveiled the existence of a ronze civilization created y ethnic tries living in the southwestern frontier of
China during the Warring States to Eastern Han Dynasty.
In recent years， interdisciplinary research has ecome an important perspective for cultural studies. The mutual exchange of theoretical methods from different categories has rought a new research perspective to our traditional understanding. Compared with cultural phenomena in other cultural systems， art has its own intrinsic characteristics and unique values that cannot e replaced. Since the evolution of prehistoric art， art has always een directly related to understanding specific social conditions， lifes experiences， lifes emotions and survival. This paper tries to take a new look at the social and cultural landscape of the ancient Dian Kingdom from the perspective of the anthropology of art， and， through psychology and psychoanalysis， uses the images found on the ronze wares as a medium to explain the wares artistic symols and the cultures social activities. It explores how the two artistic forces of the Dionysian spirit and Apollonian spirit influence the creation of Dians ronze art， and how primitive art interacts with human society. From the social process of art construction and artistic creation， the paper explores in depth the unique aesthetic images of ancient Dian culture. In his ook The eginnings of Art， German art historian Ernst Grosse once put forward the theory that art originates from the place where its culture egins. As a regional indigenous culture， the early Dian culture preserved more of the aesthetic color of the ancient ethnic groups in Yunnan. Judging from the unearthed cultural relics， Dian society illustrated the characteristics of the chiefdom stage of sociopolitical development with its accompanying authoritarianism. The ancient Dian people had their own system of primitive religions and witchcraft traditions， which derived largely from their response to the forces of nature. Their superstitious activities mainly include praying for and pleasing the gods in order to advance their personal destiny and trial welfare. This might e considered the social psychological roots of Dian ronze art.
The creators of the ancient art maintained specific social relationships， and their creative activities were not only a personal ehavior， ut were also closely related to the ideology of the society in which they lived， as well as were related to the social groups on which they depended. Their works of art are not isolated cases， ut products that were recognized y the mainstream culture of their society， and conformed to the intentions of the ruling class. These works of art， as a material existence， played an active role within a specific social structure. With the exchange and use of these items within the network of social relations， more symolic meanings were added.
The unique ronze receptacles of Dian are important ronze wares. They were normally used y primitive artists to express group events through the engraved patterns and sculpted decorations. The wares show a very ovious political orientation aout the time when the scene was shaped. The original art not only records an important event in the society of Dian， ut also conveys the value of the orientation of Dian society in an easytounderstand way. On the one hand， the material form of the oject itself gives the oserver a sense of touch， which leads to interactive reflection; on the other hand， the art also plays a role of a “psychological weapon” as a “magic technology”. y viewing the threedimensional sculptures， the individual ecomes the recipient of the logical social structure. This kind of artistic expression is the manifestation and confirmation of the social status occupied y and resources used y the rulers and that which defended their rights， showing the tendency of social wealth. Meanwhile， the ronze wares also emody social stratification at that time. The social structure was firmly formed， and moral prohiition played an increasingly important role in interpersonal communication at different levels. The trial art ecame the medium of communication for social thought. In the ronze art of Dian culture， we can find the expression of oth the Dionysus spirit and the Apollonian spirit. Let us take， for example， the ronze tale with the tiger and ox motif， which is a representative ronze ware of the ancient Dian Kingdom. After experiencing the loody scenes of the ancient Dian peoples killings and melees， those states of craziness and destruction are in stark contrast to the quiet and calm seen in this piece. The dramatic expression of their society moves from that of the Dionysian spirit to the praise of the Apollonian spirit.
Judging from those images on the ronze wares which record the society and culture of the Dian Kingdom， it can e seen that the rationality of the ruling trie at that time gradually increased; that society developed in the direction of “civilization”， and the driving force of the psychological phenomenon of complex production relations accumulatively rought aout the process of civilization. An artistic， stylized and ideologicalized ronze culture had emerged. The ronze culture of the Dian Kingdom came from the refinement of life， which formed a national aesthetic consciousness. In turn， aesthetic emotions， as an important way of thinking of a nation， had a profound impact on the formation of social life and the cultural psychology of the nation. In almost all societies， art has its semantic function. It is art that comines the materiality of an oject with the connotations and extensions that depend on it， therey conveying a unique understanding of the surrounding world y the people who created it. From the dramatic， complex and ideological nature of the imagery of the ronze art， it can e clearly seen that the creators of and those who appreciate this primitive art had not only a simple aesthetic way of thinking on daily life， ut they had carefully oserved people， feelings and things from the different aspects within the hierarchical society， and had a deep understanding of the “relationship” etween peoplepeople and peoplenature. In the process of artistic creation， the primitive ethnic groups infused realistic， humanized thought， which added to the cultural value of the Dian cultures ronze art. The art experienced a qualitative leap away from traditional primitive art which used single element patterns and repeated compositions. If we reflect on the social phenomenon and life events of Dian Kingdom， the images on the ronze wares present a pluralistic， threedimensional artistic expression with social dynamic semantics， which convey not only the thinking of the original artistic creators， ut also the demands of the ruling class of the society. This kind of artistic creation is not a simple copy of a phenomenon， ut a vivid depiction of the inner life of society， and the reinterpretation of ancient social cultural practice. This inner course is not only the instinct of the ody sense， ut also the emodiment of the willpower and the rationality， as well as the spiritual pursuit of the self. This is a unique path of artistic creation， which provided an overall depiction of the original life and society of an ancient southwestern ethnic group two thousand years ago， as well as depicting their natural and cultural landscape. In doing so， they provided an important material and cultural heritage for us today to explore the primitive art of the ancient southwestern ethnic groups and their haitat. Key Words： ronze culture of the Dian Kingdom; primitive arts; image; Anthropology of Art
References：
Alfred Gell. The Enchantment of Technology and the Technology of Enchantment （meihuo de jishu yu jishu de meihuo）. In A Reader of Anthropology of Arts Aroad （guowai yishu renleixue duen）. Li Xiujian ed.Guan Yi transl. eijing： zhongguo wenlian chuanshe， 2016：156-159.
Complete Works of Karl Marx and FrederickEngels . （Volume 23）. eijing：renmin chuanshe，1974：410.
Ernst Grosse.The eginnings of Art（yishu de qiyuan）. Xie Guanghui， Wang Chenfang， transl.eijing： eijing chuanshe，2012：18.
Fang Guoyu. Yunnan minzushi jangyi （Lecture Notes of Yunnan Minority History）. Kunming： yunnan renmin chuanshe， 2013：86.
Franz oas. Primitive Arts （yuanshi yishu）. Jinhui，transl. Shanghai： shanghai wenyi chuanshe，1989：5.
Friedrich Nietzsche.The irth of Tragedy（eiju de dansheng）. Zhou Guoping， transl.Nanjing： yilin chuanshe，2014：16.
Raymond Firth.Social Structure of Primitive Art （yuanshi yishu de shehui jiegou）. In International Anthropology of Arts： A Reader （guowai yishu renleixue duen）. Li Xiujian ed.and transl.eijing：zhongguo wenlian chuanshe，2016：120.
Sigmund Freud.Totem and Taoo（tuteng yu jingji）. eijing：zhongyang ianyi chuanshe， 2015.
Norman rown. Life against Death： the Psychoanalytical Meaning of History （sheng yu si de duikang）. Fengchuan， Wu Houkai，transl.Guiyang：guizhou renmin chuanshe，1994.
Sun Ji.dian wenwu xiaoji（Notes of Dian Cultural Relics）.In yunnan wenming zhiguangdian wangguo wenwu jingpin ji（Civilization of Yunnan： A Collection of Fine Cultural Relics of the Dian Kingdom）. National Museum of China， Cultural Department of Yunnan Province compiled. eijing：zhongguo shehui kexue chuanshe，2003：13.
Yi Zhongtian. yi shu ren lei xue（Anthropology of Art）. Shanghai： shanghai wenyi chuanshe，1992.
Yi Jianping. qiuang yu zhuanzhi zhengzhi（Chiefdoms and Authoritarian Politics）. In Historical Research，2001（5）.
Zhang Zengqi. jinning shizhaishan（Shizhaishan in Jinning）. Kunming： yunnan meishu chuanshe，1998：20.
Zheng Yuanzhe. yishu renleixue de shengcheng jiqi jien kanyi（The Formation of Anthropology of Art and Its asic Significance）.In China Anthropology of Art： A Reader. Zhou Xing ed. eijing：xueyuan chuanshe，2011：100.
From the perspective of folk sacrificial rites， those rites prevalent in the village life of the Daliai people are the primary way to use Jiama， and these rites themselves ecome the most direct reason for the existence of Jiama. The linguistic environment must also e studied when analyzing the connotation of Jiama images. The producers of Jiama consolidated the symolic meaning in Jiama in the form of symols， and the users of Jiama used these ideographic symols to interpret the symolic meaning of Jiama within the context of the rituals. Every time a Jiama is used， it is accompanied y the recurrence and intensification of folk eliefs. A study of the deities and various religious factors which had a profound influence on Dali area throughout history ， and which provide a layer y layer analysis and description of them helps to sort out the religious culture of the Dali ai and presents clearly the cultural forms emodied within the Jiama.
The themes of the Jiama are related to the folk elief systems of a specific ethnic group in a specific area， and their usage is inevitaly related to sacrificial rites. Therefore， when analyzing the Jiama images， it must e from the perspective of culture and folklore. During the past ten years， scholars have conducted numerous indepth discussions and studies on Jiama from the perspective of folk customs， which involved the systems of the gods， cultural values， social functions， characteristic ways of thinking， sacrificial rituals and folk oral literature of Jiama. However， due to the extremely rich categories of Jiama images and the inconsistency of the images when they spread to different regions， current scholarly research on the cultural interpretation of specific Jiama images is still weak. Therefore， under a specific cultural ackground， it is only feasile to carry out a detailed image analysis of a specific type of Jiama， explain the cultural connotations of a specific image y comining the folk eliefs of specific users， and separate out the evolutionary process of a specific elief. The complex structure of the folk eliefs of the Dali ai people was formed y the accumulation and fusion of eliefs from different sources throughout a longterm historical process. The preference for the ancient versions of the Jiama in ai villages lends the Jiama images a historical continuity， illustrating the specific forms of various gods that are or were active in their elief systems over a long period of time. The particularity of the Jiama is that they can display diachronic cultural information within images that exist synchronically. This provides a asis for us to analyze the development trajectory of folk eliefs. Trees and wood are very common in the daily life of the Dali ai people. In most of the ai villages， there are several ancient trees， and these ancient trees often constitute one of the core areas of oth day to day life and religious activities of the villagers. In addition， a large amount of wood is used in the traditional residences of the ai. Thus， in the process of uilding a house， and until its completion， people are in contact with wood and the carpenter. Therefore， intensive sacrificial ceremonies and rituals are needed ones in which the Wood God participates. However， in these ritual activities， the peoples elief in Wood God is varied. People distinguish etween different kinds of Wood Gods， and， as such， they will choose different types of Jiama paper images. They will do this even though they cannot explain the differences and connections etween them; nor do they pay much attention to the cultural remnants associated with aspects of primitive religions which appear in the Jiama picture.
As for the Wood God in depicted in the Jiama which are now popular among the Dali folk， the use of trees and graphic elements related to trees are a it complex and diverse. There are images of processed timer， twisted ranches and large trees with complete ranches and leaves， as well as personalized images of the Wood Gods， Carpenter Gods， etc. Actually， all these images and symols contain aundant cultural information elonging to different periods of development of Wood God eliefs.
First of all， in the elief system of primitive nature worship， large trees are the medium of communication in the sacrificial rituals， and as such are a natural force that can influence natural disasters or human reproduction. They are worthy， sacred and inviolale. Large， ancient trees are depicted as Wood Gods directly in such Jiama paper images. Secondly， the idea that there are intelligent animals and human souls living in or under trees is a elief that directly affects folk prayers， disaster relief rituals， and funeral ceremonies. Such Jiama paper images will usually illustrate animals living in a symiotic relationship with trees.
Finally， trees may turn into independent spirits and these spirits may either e kind to people who are in distress or evil and can ring disaster. The former are loved and respected， and often ecome the Local God in some villages， while the latter is reviled and people keep away from them. Thus， a specific figure of a character image was usually used in this kind of personified Jiama paper image.
People in the Dali area elieve that trees are sacred， and cannot e harmed. Although wood from trees must e used for constructing their house， the Wood God is rewarded at first， and then sent away quietly after the completion of the house. As the characteristics of trees may e used y carpenters to frame their owners， the carpenter was given preferential treatment， and a sacrificial rite must e conducted for the Carpenter God. The image of a uilding was usually used in the Jiama image for the process of uilding houses， and prays offered for the peace of the owner of the house.
In conclusion， from the sacred tree， the tree God， the Wood God to the Carpenter God， the Jiama images cover almost all of the elements of the eliefs of the wood god ， and show the various levels of cultural characteristics superimposed within the folk elief system of the Dali ai ethnic area. This is to say that the type of image and its specific method of depiction in the Jiama can echo the development path of the wood god eliefs in the ai area of Dali. Furthermore， they depict a relatively complete elief system of the wood gods and their evolutionary history within the current system of folk eliefs.
Key Words： Jiama paper; ai ethnic people; Wood God faith
References：
Deng Qiyao.zongjiao meisu yixiang （Imagery and Art of Religion ）. Kunming： yunnan renmin chuanshe， 1991： 71.
Huang Ze. wenhua dieyadai：duominzu zaju quyu de wenhua cengji guanxi—yi yunnan weili （Cultural Laminated elt： Cultural Stratification of Multiethnic Mixed Areas―A Case Report of Yunnan Province ）. In Guangxi Ethnic Studies， 2000（2）.
James George Frazer.Golden ough （jin zhi）. eijing：dazong wenyi chuanshe， 1998.
Liu enxi， Li Heng， Long Chunlin. “shanhaijing” san da shenmu de zhiwuxue kao （otanical Verification of Sacred Trees in “Legend of Mountains and Rivers”）. In Plant Diversity and Resources， 2013， 35 （4）： 481 – 492. Nanzhao dali lishi wenhua congshu diyi ji： aiguo yinyou （History and Culture Series ooks of Nanzhao Dali， Volume I： The Cause of ai Kingdom ）. Chengdu： ashu shushe）， 1998： 19.
Yang Yusheng. yunnan jiama （Jiama Paper of Yunnan）. Kunming： yunnan renmin chuanshe， 2002： 227.
Yang Yusheng. dujuyige de aizu muke—jiamazi （Unique ai Woodcuts―Jiama Zi）. In Dali Culture， 1982（6）： 74.
Zhang Hongyu， Wen Yuan. Wu mo ji cuo –aizu congshu aishu xisu （“Wu Mo” Ji Cuo—the Respecting and Loving Trees Custom of the ai ）. In Plants， 1999（1）： 19.
Zhang Xu. aizu dui tiangui he enzhu de congai（The ai peoples Worship of the Heavenly Ghosts and the Local Lords ）. In dali aizushi tansuo （Exploration of the History of Dali ai People）.Kunming： yunnanrenmin chuanshe， 1990： 157.
Zhang Hongyu. guanyu heqing aizu “jiama” （Aout the Jiama of the ai in Heqing）. In Shan Cha （National Geographic now ）， 1992 （6）： 43.
The Social Cultural Landscape of the Ancient Dian People：An Interpretation of the Images on ronze Wares of the DianKingdom from the Perspective of the Anthropology of Art
Guo Jia
（School of Chinese Language and Literature， Yunnan University， Kunming， 650000，Yunnan， China）
JOURNAL OF ETHNOLOGY， VOL. 10， NO.2， 79-86， 2019 （CN51-1731/C， in Chinese）
DOI：10.3969/j.issn.1674-9391.2019.02.08
Astract：During the Warring States Period， the ronze culture of the ancient Dian Kingdom originated in the area of Dianchi， Yunnan. In the 1950s， the archaeological excavation of the Shizhai
Mountain site in Jinning initiated the study of the ronze culture of Dian， which unveiled the existence of a ronze civilization created y ethnic tries living in the southwestern frontier of
China during the Warring States to Eastern Han Dynasty.
In recent years， interdisciplinary research has ecome an important perspective for cultural studies. The mutual exchange of theoretical methods from different categories has rought a new research perspective to our traditional understanding. Compared with cultural phenomena in other cultural systems， art has its own intrinsic characteristics and unique values that cannot e replaced. Since the evolution of prehistoric art， art has always een directly related to understanding specific social conditions， lifes experiences， lifes emotions and survival. This paper tries to take a new look at the social and cultural landscape of the ancient Dian Kingdom from the perspective of the anthropology of art， and， through psychology and psychoanalysis， uses the images found on the ronze wares as a medium to explain the wares artistic symols and the cultures social activities. It explores how the two artistic forces of the Dionysian spirit and Apollonian spirit influence the creation of Dians ronze art， and how primitive art interacts with human society. From the social process of art construction and artistic creation， the paper explores in depth the unique aesthetic images of ancient Dian culture. In his ook The eginnings of Art， German art historian Ernst Grosse once put forward the theory that art originates from the place where its culture egins. As a regional indigenous culture， the early Dian culture preserved more of the aesthetic color of the ancient ethnic groups in Yunnan. Judging from the unearthed cultural relics， Dian society illustrated the characteristics of the chiefdom stage of sociopolitical development with its accompanying authoritarianism. The ancient Dian people had their own system of primitive religions and witchcraft traditions， which derived largely from their response to the forces of nature. Their superstitious activities mainly include praying for and pleasing the gods in order to advance their personal destiny and trial welfare. This might e considered the social psychological roots of Dian ronze art.
The creators of the ancient art maintained specific social relationships， and their creative activities were not only a personal ehavior， ut were also closely related to the ideology of the society in which they lived， as well as were related to the social groups on which they depended. Their works of art are not isolated cases， ut products that were recognized y the mainstream culture of their society， and conformed to the intentions of the ruling class. These works of art， as a material existence， played an active role within a specific social structure. With the exchange and use of these items within the network of social relations， more symolic meanings were added.
The unique ronze receptacles of Dian are important ronze wares. They were normally used y primitive artists to express group events through the engraved patterns and sculpted decorations. The wares show a very ovious political orientation aout the time when the scene was shaped. The original art not only records an important event in the society of Dian， ut also conveys the value of the orientation of Dian society in an easytounderstand way. On the one hand， the material form of the oject itself gives the oserver a sense of touch， which leads to interactive reflection; on the other hand， the art also plays a role of a “psychological weapon” as a “magic technology”. y viewing the threedimensional sculptures， the individual ecomes the recipient of the logical social structure. This kind of artistic expression is the manifestation and confirmation of the social status occupied y and resources used y the rulers and that which defended their rights， showing the tendency of social wealth. Meanwhile， the ronze wares also emody social stratification at that time. The social structure was firmly formed， and moral prohiition played an increasingly important role in interpersonal communication at different levels. The trial art ecame the medium of communication for social thought. In the ronze art of Dian culture， we can find the expression of oth the Dionysus spirit and the Apollonian spirit. Let us take， for example， the ronze tale with the tiger and ox motif， which is a representative ronze ware of the ancient Dian Kingdom. After experiencing the loody scenes of the ancient Dian peoples killings and melees， those states of craziness and destruction are in stark contrast to the quiet and calm seen in this piece. The dramatic expression of their society moves from that of the Dionysian spirit to the praise of the Apollonian spirit.
Judging from those images on the ronze wares which record the society and culture of the Dian Kingdom， it can e seen that the rationality of the ruling trie at that time gradually increased; that society developed in the direction of “civilization”， and the driving force of the psychological phenomenon of complex production relations accumulatively rought aout the process of civilization. An artistic， stylized and ideologicalized ronze culture had emerged. The ronze culture of the Dian Kingdom came from the refinement of life， which formed a national aesthetic consciousness. In turn， aesthetic emotions， as an important way of thinking of a nation， had a profound impact on the formation of social life and the cultural psychology of the nation. In almost all societies， art has its semantic function. It is art that comines the materiality of an oject with the connotations and extensions that depend on it， therey conveying a unique understanding of the surrounding world y the people who created it. From the dramatic， complex and ideological nature of the imagery of the ronze art， it can e clearly seen that the creators of and those who appreciate this primitive art had not only a simple aesthetic way of thinking on daily life， ut they had carefully oserved people， feelings and things from the different aspects within the hierarchical society， and had a deep understanding of the “relationship” etween peoplepeople and peoplenature. In the process of artistic creation， the primitive ethnic groups infused realistic， humanized thought， which added to the cultural value of the Dian cultures ronze art. The art experienced a qualitative leap away from traditional primitive art which used single element patterns and repeated compositions. If we reflect on the social phenomenon and life events of Dian Kingdom， the images on the ronze wares present a pluralistic， threedimensional artistic expression with social dynamic semantics， which convey not only the thinking of the original artistic creators， ut also the demands of the ruling class of the society. This kind of artistic creation is not a simple copy of a phenomenon， ut a vivid depiction of the inner life of society， and the reinterpretation of ancient social cultural practice. This inner course is not only the instinct of the ody sense， ut also the emodiment of the willpower and the rationality， as well as the spiritual pursuit of the self. This is a unique path of artistic creation， which provided an overall depiction of the original life and society of an ancient southwestern ethnic group two thousand years ago， as well as depicting their natural and cultural landscape. In doing so， they provided an important material and cultural heritage for us today to explore the primitive art of the ancient southwestern ethnic groups and their haitat. Key Words： ronze culture of the Dian Kingdom; primitive arts; image; Anthropology of Art
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