摘要
《华阳国志》和《后汉书》记载的遁水圣母和夜郎竹王的传说和有关史实,符合晚出转精的史学规律,应该肯定。六代夜郎王考证。芦笙文化荷载着古代西南两系少数民族的竹图腾和葫芦图腾;竹王崇拜和葫芦崇拜这两种图腾崇拜的叠加,从而数千年来在西南少数民族中间形成了一种执着而深刻的文化心理结构,体现了文化上的持续性和伦理上的认同性。
“Hua Yang Guo Zhi” （ “Records of the Lands South of Mt. Hua” ） and “Hou Han Zhu” （ “The Book of Later Han” ） record the legend and some historical facts about “Dun Shui Sheng Mu” （ Holy Mother who could eschew water） and the “Bamboo King” of the Yelang Kingdom, which accords with the historical rule （ - the later, the better） and should be affirmed. It is based on the textural research of the Sixth King of the Yelang Kingdom. The Lusheng culture covers the bamboo totem and the gourd one of the two ancient mi- norities in the Southwest China. For thousands of years the superposifion of worships of the bamboo and gourd totems has formed a stable and profound cultural psychological structure among the minorities in the Southwest China. It shows the cultural durative and the theoretical identification.
出处
《贵州大学学报（艺术版）》
2006年第2期10-15,30,共7页
Journal of Guizhou University Art Edition
关键词
《华阳国志》《后汉书》
吴霸
遁水圣母
夜郎王
竹图腾
图腾叠加
芦笙文化
“Hua Yang Guo Zhi” （ “Records of the Lands South of Mt. Hua”）
“Hou Han Zhu” （“The Book of Later Han” ）
Wuba
“Dun Shui Sheng Mu” （ Holy Mother who could eschew water）
the bamboo king
bamboo totem
superposition of totems
Lusheng culture
