CAJ | 학술논문

人类在面对自然的压力与生存的威胁时，会求助于超自然的神灵来保护自己，它可能是对人类生存有力的某种动植物，抑或是使人无比畏惧的生灵。而蚺蛇在黎族先民的生活中，同时扮演了这两个角色。对于穿梭于山区密林和跋涉于河流的黎族人来说，蛇是重要的图腾代表，他们以印记与象征的方式将蛇形挂在门楣上、戴在脖颈上、织绣在衣服上、刻画在身体上，神圣之情状以种种物象而表达，得其保佑而世代相传；而鸟也是黎族人在生存悠关的动植物中建立起的血亲与氏族标志。鸟纹是黎族衣饰、头饰、以及文身上最为多样、最集中的反映黎族审美智慧的艺术形象，尤其是各方言的甘工鸟，都是黎族古老神话投射出的黎族社会从蒙昧走向文明的见证，是黎族先民在万物有灵的认识基础上，通过幻想与神秘认知而对自然现象与生存状态进行的感性加工。这不仅体现了黎族先民图腾文化观下的集体意识，为巫术的产生、发展以及祖先崇拜奠定了精神基础，而且用一种特殊的思维方式表达出原始记忆中的人与自然、人与社会之间的关系。同时，对于图腾的崇拜也必然生出相应的禁忌，它是以限制为手段，调节发展了黎族内部个人与集团之间的统一关系。
인류재면대자연적압력여생존적위협시，회구조우초자연적신령래보호자기，타가능시대인류생존유력적모충동식물，억혹시사인무비외구적생령。이염사재려족선민적생활중，동시분연료저량개각색。대우천사우산구밀림화발섭우하류적려족인래설，사시중요적도등대표，타문이인기여상정적방식장사형괘재문미상、대재발경상、직수재의복상、각화재신체상，신골지정상이충충물상이표체，득기보우이세대상전；이조야시려족인재생존유관적동식물중건립기적혈친여씨족표지。조문시려족의식、두식、이급문신상최위다양、최집중적반영려족심미지혜적예술형상，우기시각방언적감공조，도시려족고로신화투사출적려족사회종몽매주향문명적견증，시려족선민재만물유령적인식기출상，통과환상여신비인지이대자연현상여생존상태진행적감성가공。저불부체현료려족선민도등문화관하적집체의식，위무술적산생、발전이급조선숭배전정료정신기출，이차용일충특수적사유방식표체출원시기억중적인여자연、인여사회지간적관계。동시，대우도등적숭배야필연생출상응적금기，타시이한제위수단，조절발전료려족내부개인여집단지간적통일관계。
Human in the face of natural pressure and threats to their existence, turn to the supernatural gods to protect themselves, gods may be some animals and plants that are effective for helping human survival, or living creatures that make human extreme fear. While the pythons play the two roles at the same time in Li ancestors’ life. For shuttling in the mountains and wading in the rivers of Li people, snakes are the important representatives of totem. To mark and symbol of the way , Li people will be the shape of a snake hanging on the lintel, worn on their neck, weaved and embroidered on their clothes, tattooed their bodies, and passed on from generation to generation. Birds are also Li people's consanguinity and Clan symbol. Bird patterns is artistic image that is the most diverse, and the most concentrated reflection of Li's aesthetic wisdom in clothing, headwear and tattoo, especially the five major dialects of the Gan Gong birds, are the ancient myths in the projection of the Li society from barbarism to civilization witness; Bird patterns is Li people based on the old animistic world view, through the fantasy and mystery cognitive , worked on the perceptual processing for natural phenomena and survival situation. This not only reflects the collective consciousness of Li ancestors totem culture perspective, laid the foundation of spirit for the generation and development of witchcraft, and ancestor worship, but also through a special way of thinking expresses the relationship between man and nature, man and society in the original memory. At the same time, the totem worship will surely bring forth the corresponding taboo, it is based on the limit of the method, adjust and develop Li people's internal unity relations between individual and group.