圣坛之石
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摘要
2007年笔者有幸作为国家建设高水平大学项目的委派去世界著名的岩画研究机构——意大利的卡莫诺史前中心,跟随著名岩画专家,前联合国教科文组织岩画委员会主席埃玛努埃尔·阿纳蒂(ANATIEMMANUEL)教授学习,在那段时间里感受颇多,很多有关的岩画的工作和事件一直刺激着我的神经,这些感触和所见所闻促使笔者想把自己的一些想法写出来,介绍给国内的同行,希望意大利梵尔卡莫妮卡的经验对他们的岩画研究有所帮助,起到“他山之石,可以攻玉”的效果。
在本文中,笔者对他们的研究成果做了一个全面的介绍,并且对某些问题,提出了自己不同的看法,例如,岩画作为语言的问题。同时也针对意大利学者所论述的岩画环境问题,提出了新的概念“岩画场”。当然这些新的概念和提法在本文中由于篇幅、研究时间、资料所限,还需要进一步在以后的工作中论证。
在他们的田野实践中,笔者也在梵尔卡莫妮卡和来自意大利不同的研究机构学者做了为期一个月的拷贝,其中的感受是非常深刻的,很多看似简单的步骤,在实践过程中,总是非常复杂并且容易出错的。文章中,笔者结合自己的田野实践经验介绍了卡莫诺史前研究中心田野作业的方法,例如,如何看待岩画所处环境的问题,如何清理岩石表面,岩画的记录方法(包括描摹、拍照、制作复制品、拷贝复制品、编号以及对岩画归类等)等在田野作业中要用到的一些方法,这些已经经过实践考验的方法对于岩画的田野作业是很有效的,也具有可操作性,对中国学者有现实的意义。当然,笔者在文章也提出由于这些方法主要是针对梵尔卡莫妮卡岩刻摸索出来的,其中的一些方法是具有局限性的,在田野实践中,我们应针对不同的对象进行修改,或者运用适合当地实际的方法。同时,结合卡莫诺史前研究中心学者五十年对岩画环境的描述,发现他们是不断提高的,对于这一点,笔者提出了在介绍岩画环境的几点建议,希望能对解释岩画有一个铺垫的作用。
岩画的断代问题一直是困扰学者的主要问题,由于岩画特殊性,致使很多考古学家不愿意对岩画产生的时间问题发表意见,他们也很少有专门的学者对其进行研究,对岩画的态度就是考古的“遗余”,并不能引起重视。卡莫诺的研究人员,在阿纳蒂教授的主持下,提出了岩画的“地层断代法”,现在岩画学界通常叫做“叠压断代法”。他们针对岩石表面的叠压现象发现,这些岩画不是同时期的作品,因为某种原因,会出现岩画的重复创作,一些岩画总是覆盖以前部分或者几乎全部的作品。有些是因为这些岩画已经没有作用了,有些是为了使用类似“萨满”的做法,使以前的岩画作品不再发挥作用;抑或是因为这块岩石上具有某种神奇的“魔力”被大家所公认能够发挥超乎想象的功能,被“艺术家”所喜爱,作品就会不断在这样的地方重复出现,导致某些作品覆盖了其他的作品。从理论上来说,被覆盖的作品总是要早些,最清楚的能容易辨认的那些作品应当是离现在最近的。笔者对于意大利两系学者叠压断代的方法都进行了介绍,希望碰到类似问题的中国岩画得到很好的解决。
史前研究中心对于岩画理论的探索也是同步进行的,他们最大的建树就是还原了卡莫尼人的历史,这些研究成果把岩画研究推到了更有意义的层面,同时给其他地区的研究者提供了某种新的思路,而且也告诉我们:岩画研究不是猎奇,不是探险,而是在“触摸”我们先人的生活。在研究梵尔卡莫妮卡岩刻的基础上,卡莫诺史前研究中心的学者还对世界不同的地区进行了涉猎,积极参与世界岩画的研究工作,他们先后在亚洲、美洲、非洲进行考察,结合梵尔卡莫妮卡的研究成果,他们提出了一些关乎岩画哲学的倾向,这些新的研究方向应当引起中国学者的注意,需要我们也用全球的眼光,积极参与世界其他地区的研究工作,把中国岩画研究提高到世界的层面,让学者能站在整个人类的高度来关注岩画。
笔者在介绍意大利岩画有益经验的同时,没有一味对其加以赞扬,一路高歌,对于其中一些理论提出了修正,并对某些问题提出了新的看法。阿纳蒂教授的“岩画语法”是其岩画理论的重要组成部分,他把岩画分为:图画文字、表意文字和心理文字三种形式,尽管岩画可能是文字的来源,或者说是“文字前的文字”,但是毕竟不是文字,所以对于这种提法,笔者做了修正,提出了岩画的语言观。笔者认为岩画作为符号,大多数是带有涵义,从特征来看,跟文字非常相似,可是它们还没有像文字一样,成为一种固定的模式。它们所出现的那些常项总是会受到这样或者那样的限制,而导致表达不同的意义,更何况,这些所谓的常项,并不经常,也没有在整个岩画世界中达到共识,最多也只能说它们之间是相似的。这些岩画中所表达出来的意义,表现了岩画创作者已经具备了语言的意识,岩画是他们之间交流的介质,因此,表现在岩画作品中的图画、表意和心理的三种交流的方式,在这个层面上,就是岩画的语言观。
本论文中的另外一个新的地方,是“岩画场”。意大利学者对岩画所处的环境也是非常重视的,他们认为岩画的环境对于解释岩画密不可分。笔者结合中国特有的环境学——风水理论,同时参考了物理学和其他学科对“场”认识,针对岩画的环境提出了“岩画场”概念。当然,“岩画的语言观”和“岩画场”还需要在以后很长时间进一步研究。
总之,笔者写作这篇论文的目的还是希望通过对梵尔卡莫妮卡岩画研究的介绍,给我们中国的学者提供某种启示,或者是一种参照。如果这篇小文即使能人们了解意大利的岩画中的一些做法,笔者将是不甚欣喜的。
I am very lucky to be sent by a project of the construction for the greatest university from China to go CENTRO OF CAMUNO DI STUDI PREISTORIRCI(卡莫诺史前研究中心) and follow Prof.ANATI EMMANUEL,who is ex-president of the International Committee on Rock Art(CAR) of UNESCO(United Nations Educational Scientific and Cultural Organization),studying rock art in Italy in 2007.During that time, all kinds of events conceming rock art made me be excited,and which urged me to write it to be introduced to my country.I hope these experiences from Italy could help Chinese scholars of rock art to study in their field.
Author has totally introduced their achievement in the thesis; meanwhile,a couple of different ideas have been brought by me.For example,could we treat rock art as language? As the rock art setting,I have got a new idea named "rock art field".Thanks to the capacity of page,time and information limited,Of course,these new concepts need to be proved later.
Many experiences from field works told us:some easy steps always lead us into a trap and make mistakes.Author has ever copied the engraving with some experts from the different institute of the whole Italy in Valcamonica above one month,and some thoughts come into being. Based on the experiences from the field work and theories from books, some methods were list in my thesis,including the setting of rock art how can I deal with,how can I clean the surface of rock and trace engravings, which is very effective and realistic ways to scholars.However,we should be aware of these theories and ways is limited.If we want to use it, should be based on the fact from the local field.When Author have found some portrayals of rock art setting continues to grow about 50 years, some advices of rock art setting were given.
Some key problems disturbing scholar is dating.The special characters of rock art,many persons thought it is 'the remains' of archeology,which make archaeologists not be given advice of it and almost nobody specially study rock art.Scholars from Camuno have developed the idea of 'stratigraphy' under Anati's leadship,sometimes named 'Superimposition'.One rock surface usually have been found rock art from different time,some figures always covered the other ones,parts or the wholes.Some reasons are that these rock Arts have no function,or make use of ways of 'shaman' make it not play a role any more. Sometimes,a stone is generally acknowledged as 'magic' and artists like to engraving on it,we will find some figures always are covered by the others.Generally,covered works is earlier,the clearest works should be happened later.Author has introduced the dating of rock art on based of two different series of scholars from Italy in order to take some advices for Chinese scholars.
Theories studying are almost beginning from discovering the rock art in Valcomunican,which is the greatest contribution,is restriction the history of Valcomuni.These achievement make rock art study to be meaning and provided some new ways to us,which tell us rock art research is not hunt for novelty and take an adventure,but 'touch' the life of ancestor.Scholars from CCSP(Centro Camuno di Studi Preistorici) have taken part in the rock art of the other areas of the world and developed the idea of philosophy on the basis of experiences of Valcamonica and the exploration from Asia,America,African and other else.These ways of rock art research should be pay attention by Chinese scholars and make them study and interpret rock art in a world vision.
Author is not always proud of the experience of Valcamonica;some theories mend it and give some new views for rock art.Rock art syntax of Anati is an important part of theory,which can be divided into three ways of ideograms,psychograms and pictogram.Maybe rock art is origin of characters or "as a character,we Should be noticed the engravings is not characters after all.I thought rock art as symbols is similar to character in part,but rock art is not inscriptions,author regards rock art as a language system(idea).Some so-called perpetual projects are not always appearing in all of the rock art,which usually show us the different meaning on basis of different kinds of elements.These phenomena told us the author of rock art had been possessed consciousness of language;ideograms, psychograms and pictogram are three ways of communication at that time. The system of rock art as media we can name this "the idea of rock art".
Another new idea is "rock art field".Scholars from Italy also think rock art of setting is very important to interpret meaning of it.I have developed an idea of "rock art field" based on the setting of rock art, FENGSHUI theory of China(a theory of traditional environments) and 'field' concepts from physics and the other science.Of course,"Language system of rock art" and "rock art field" need still research later.
After all,the aim of the thesis I want to provide a notice and reference for Chinese scholars.I am very happy if some ways of developing rock art from Italy can be understood by researchers.
在本文中,笔者对他们的研究成果做了一个全面的介绍,并且对某些问题,提出了自己不同的看法,例如,岩画作为语言的问题。同时也针对意大利学者所论述的岩画环境问题,提出了新的概念“岩画场”。当然这些新的概念和提法在本文中由于篇幅、研究时间、资料所限,还需要进一步在以后的工作中论证。
在他们的田野实践中,笔者也在梵尔卡莫妮卡和来自意大利不同的研究机构学者做了为期一个月的拷贝,其中的感受是非常深刻的,很多看似简单的步骤,在实践过程中,总是非常复杂并且容易出错的。文章中,笔者结合自己的田野实践经验介绍了卡莫诺史前研究中心田野作业的方法,例如,如何看待岩画所处环境的问题,如何清理岩石表面,岩画的记录方法(包括描摹、拍照、制作复制品、拷贝复制品、编号以及对岩画归类等)等在田野作业中要用到的一些方法,这些已经经过实践考验的方法对于岩画的田野作业是很有效的,也具有可操作性,对中国学者有现实的意义。当然,笔者在文章也提出由于这些方法主要是针对梵尔卡莫妮卡岩刻摸索出来的,其中的一些方法是具有局限性的,在田野实践中,我们应针对不同的对象进行修改,或者运用适合当地实际的方法。同时,结合卡莫诺史前研究中心学者五十年对岩画环境的描述,发现他们是不断提高的,对于这一点,笔者提出了在介绍岩画环境的几点建议,希望能对解释岩画有一个铺垫的作用。
岩画的断代问题一直是困扰学者的主要问题,由于岩画特殊性,致使很多考古学家不愿意对岩画产生的时间问题发表意见,他们也很少有专门的学者对其进行研究,对岩画的态度就是考古的“遗余”,并不能引起重视。卡莫诺的研究人员,在阿纳蒂教授的主持下,提出了岩画的“地层断代法”,现在岩画学界通常叫做“叠压断代法”。他们针对岩石表面的叠压现象发现,这些岩画不是同时期的作品,因为某种原因,会出现岩画的重复创作,一些岩画总是覆盖以前部分或者几乎全部的作品。有些是因为这些岩画已经没有作用了,有些是为了使用类似“萨满”的做法,使以前的岩画作品不再发挥作用;抑或是因为这块岩石上具有某种神奇的“魔力”被大家所公认能够发挥超乎想象的功能,被“艺术家”所喜爱,作品就会不断在这样的地方重复出现,导致某些作品覆盖了其他的作品。从理论上来说,被覆盖的作品总是要早些,最清楚的能容易辨认的那些作品应当是离现在最近的。笔者对于意大利两系学者叠压断代的方法都进行了介绍,希望碰到类似问题的中国岩画得到很好的解决。
史前研究中心对于岩画理论的探索也是同步进行的,他们最大的建树就是还原了卡莫尼人的历史,这些研究成果把岩画研究推到了更有意义的层面,同时给其他地区的研究者提供了某种新的思路,而且也告诉我们:岩画研究不是猎奇,不是探险,而是在“触摸”我们先人的生活。在研究梵尔卡莫妮卡岩刻的基础上,卡莫诺史前研究中心的学者还对世界不同的地区进行了涉猎,积极参与世界岩画的研究工作,他们先后在亚洲、美洲、非洲进行考察,结合梵尔卡莫妮卡的研究成果,他们提出了一些关乎岩画哲学的倾向,这些新的研究方向应当引起中国学者的注意,需要我们也用全球的眼光,积极参与世界其他地区的研究工作,把中国岩画研究提高到世界的层面,让学者能站在整个人类的高度来关注岩画。
笔者在介绍意大利岩画有益经验的同时,没有一味对其加以赞扬,一路高歌,对于其中一些理论提出了修正,并对某些问题提出了新的看法。阿纳蒂教授的“岩画语法”是其岩画理论的重要组成部分,他把岩画分为:图画文字、表意文字和心理文字三种形式,尽管岩画可能是文字的来源,或者说是“文字前的文字”,但是毕竟不是文字,所以对于这种提法,笔者做了修正,提出了岩画的语言观。笔者认为岩画作为符号,大多数是带有涵义,从特征来看,跟文字非常相似,可是它们还没有像文字一样,成为一种固定的模式。它们所出现的那些常项总是会受到这样或者那样的限制,而导致表达不同的意义,更何况,这些所谓的常项,并不经常,也没有在整个岩画世界中达到共识,最多也只能说它们之间是相似的。这些岩画中所表达出来的意义,表现了岩画创作者已经具备了语言的意识,岩画是他们之间交流的介质,因此,表现在岩画作品中的图画、表意和心理的三种交流的方式,在这个层面上,就是岩画的语言观。
本论文中的另外一个新的地方,是“岩画场”。意大利学者对岩画所处的环境也是非常重视的,他们认为岩画的环境对于解释岩画密不可分。笔者结合中国特有的环境学——风水理论,同时参考了物理学和其他学科对“场”认识,针对岩画的环境提出了“岩画场”概念。当然,“岩画的语言观”和“岩画场”还需要在以后很长时间进一步研究。
总之,笔者写作这篇论文的目的还是希望通过对梵尔卡莫妮卡岩画研究的介绍,给我们中国的学者提供某种启示,或者是一种参照。如果这篇小文即使能人们了解意大利的岩画中的一些做法,笔者将是不甚欣喜的。
I am very lucky to be sent by a project of the construction for the greatest university from China to go CENTRO OF CAMUNO DI STUDI PREISTORIRCI(卡莫诺史前研究中心) and follow Prof.ANATI EMMANUEL,who is ex-president of the International Committee on Rock Art(CAR) of UNESCO(United Nations Educational Scientific and Cultural Organization),studying rock art in Italy in 2007.During that time, all kinds of events conceming rock art made me be excited,and which urged me to write it to be introduced to my country.I hope these experiences from Italy could help Chinese scholars of rock art to study in their field.
Author has totally introduced their achievement in the thesis; meanwhile,a couple of different ideas have been brought by me.For example,could we treat rock art as language? As the rock art setting,I have got a new idea named "rock art field".Thanks to the capacity of page,time and information limited,Of course,these new concepts need to be proved later.
Many experiences from field works told us:some easy steps always lead us into a trap and make mistakes.Author has ever copied the engraving with some experts from the different institute of the whole Italy in Valcamonica above one month,and some thoughts come into being. Based on the experiences from the field work and theories from books, some methods were list in my thesis,including the setting of rock art how can I deal with,how can I clean the surface of rock and trace engravings, which is very effective and realistic ways to scholars.However,we should be aware of these theories and ways is limited.If we want to use it, should be based on the fact from the local field.When Author have found some portrayals of rock art setting continues to grow about 50 years, some advices of rock art setting were given.
Some key problems disturbing scholar is dating.The special characters of rock art,many persons thought it is 'the remains' of archeology,which make archaeologists not be given advice of it and almost nobody specially study rock art.Scholars from Camuno have developed the idea of 'stratigraphy' under Anati's leadship,sometimes named 'Superimposition'.One rock surface usually have been found rock art from different time,some figures always covered the other ones,parts or the wholes.Some reasons are that these rock Arts have no function,or make use of ways of 'shaman' make it not play a role any more. Sometimes,a stone is generally acknowledged as 'magic' and artists like to engraving on it,we will find some figures always are covered by the others.Generally,covered works is earlier,the clearest works should be happened later.Author has introduced the dating of rock art on based of two different series of scholars from Italy in order to take some advices for Chinese scholars.
Theories studying are almost beginning from discovering the rock art in Valcomunican,which is the greatest contribution,is restriction the history of Valcomuni.These achievement make rock art study to be meaning and provided some new ways to us,which tell us rock art research is not hunt for novelty and take an adventure,but 'touch' the life of ancestor.Scholars from CCSP(Centro Camuno di Studi Preistorici) have taken part in the rock art of the other areas of the world and developed the idea of philosophy on the basis of experiences of Valcamonica and the exploration from Asia,America,African and other else.These ways of rock art research should be pay attention by Chinese scholars and make them study and interpret rock art in a world vision.
Author is not always proud of the experience of Valcamonica;some theories mend it and give some new views for rock art.Rock art syntax of Anati is an important part of theory,which can be divided into three ways of ideograms,psychograms and pictogram.Maybe rock art is origin of characters or "as a character,we Should be noticed the engravings is not characters after all.I thought rock art as symbols is similar to character in part,but rock art is not inscriptions,author regards rock art as a language system(idea).Some so-called perpetual projects are not always appearing in all of the rock art,which usually show us the different meaning on basis of different kinds of elements.These phenomena told us the author of rock art had been possessed consciousness of language;ideograms, psychograms and pictogram are three ways of communication at that time. The system of rock art as media we can name this "the idea of rock art".
Another new idea is "rock art field".Scholars from Italy also think rock art of setting is very important to interpret meaning of it.I have developed an idea of "rock art field" based on the setting of rock art, FENGSHUI theory of China(a theory of traditional environments) and 'field' concepts from physics and the other science.Of course,"Language system of rock art" and "rock art field" need still research later.
After all,the aim of the thesis I want to provide a notice and reference for Chinese scholars.I am very happy if some ways of developing rock art from Italy can be understood by researchers.
引文
1周大鸣、乔晓勤《现代人类学》,重庆出版社,1990,pp3。
2Ruth Benedict,Patterns of Culture,the New American Library,1949,pp2.
1陈兆复《岩画学概论》中央民族大学民族学与社会学学院中国岩画研究中心,2005,pp10.
1李福顺,《中国岩画断代方法概说》1995年《岩画》,中央民族大学出版社,pp23-33。
1在他之前一些研究岩画的波兰学者基本上都足在中亚当地放牧者的引导下发现岩画的。
2Anati,World Rock Art-The Primordial Language.EDIZIONI DEL CENTRO,1994,pp45.
1 Anati,The Civilization Of Rock,EDIZIONI DEL CENTRO,2008,pp267.
1奈杰尔·巴利《天真的人类学家--小泥屋笔记》,上海人民出版社2003年8月,pp52。
2梁漱溟《人性与人生》,学林出版社1984年,pp92。
3费孝通《文化中人与自然关系再认识》,摘自《论人类学与文化自觉》,华夏出版社2004,pp228。
1阿纳蒂:《艺术的起源》中国人民大学出版社2007年,pp63。
1Anati,Prologue-A World Planning For Inventory,Preservation And Appreciation Of Prehistoric Rock Art,Rock Art Of India,ARNOLD-HEINEMANN,pp32.
1Anati,World Rock Art-The Primordial Language,EDIZIONI DEL CENTRO 1994,pp59.
1阿纳蒂《艺术的起源》,中国人民大学出版社2007,pp413。
2同上,pp413.
3阿纳蒂《艺术的起源》,中国人民大学出版社2007,pp414..
1阿纳蒂,《艺术的起源》,中国人民大学出版社2007年,pp443。
1阿纳蒂,《艺术的起源》,中国人民大学出版社2007年,pp453.
2阿纳蒂,《艺术的起源》,中国人民大学出版社,2007年,pp354。
1阿纳蒂,《艺术的起源》,中国人民大学出版社,2007年,pp365。
1阿纳蒂,《艺术的起源》,中国人民大学出版社,2007年,pp382..
1阿纳蒂,《艺术的起源》,中国人民大学出版社,2007,pp381。
2阿纳蒂,《艺术的起源》,中国人民大学出版社,2007,pp114。
1谈歌,《绝士》载于《十月典藏品:青卷·中篇小说》,2003,pp69。
2陈兆复《岩画学概论》(书稿),中国岩画研究中心,2005,pp1。
3汪宁生《文化人类学调查》文物出版社2002年,pp179。
4Anati,THE CIVILIZATION OF ROCKS,EDIZIONI DEL CENTRO,2007,pp15.
1 周兴华,《史前岩画与原始语言》来自《岩画探秘》宁夏人民出版社2006年6月。
1Anati,La CIVILTA delle PIETRE,EDIZIONI DELCENTRO,2004,pp37陈兆复,《古代岩画》文物出版社2002年,pp221。
1陈兆复《古代岩画》文物出版社2002年,pp228。
2恩斯特·卡西尔《语言与神话》,三联书店1988年6月。pp73。
1阿纳蒂《艺术的起源》中国人民大学出版社2007,pp58。
1Anati,World Rock Art-The Primordial Language,EDIZIONI DEL CENTRO 1994,pp45.
1Anati,World Rock Art-The Primordial Language,EDIZlONI DEL CENTRO,1994a,pp35.
2阿纳蒂《艺术的起源》中国人民大学出版社2007,pp109。
1宋耀良“跋”载《中国岩画考察》台湾:联经出版事业公司1998年10月版,p387-388。
[1]Anati Emmanuel 1961 Camonica Vally,A depiction of village life in the Alps from Neolithic times to the birth of Christ as revealed by 1000's of newly found rock carvings.Translated from French by L.Asher.Alfred A.Knopf,NEW YORK,pp14-20
Anati Emmanuel 1976 Evolution And Style in Camunian Rock Art,Edizioni del Centro,Capo di Ponte,pp23-27.
Anati Emmanuel 1977 Methods of Recording and Analyzing Rock Engravings,Edizioni del Centro,Capo di Ponte,ppl0.
Anati Emmanuel 1978 Method of Recording and Aanalyzing Rock Engravings',Acts of the International Symposium on Rock Art,Universitetsfoflaget,Oslo/Bergen/Tromosφ,pp145.
Anati Emmanuel 1984a The State Of Research In Rock Art-A World Report Presented To UNESCO,BCSP 21,EDIZIONI DEL CENTRO,18.
Anati Emmanuel 1984b Prologue-A World Planning For Inventory,Preservation And Appreciation Of Prehistoric Rock Art,Rock Art Of India,ARNOLD-HEINEMANN,32.
Anati Emmanuel 1989 Valcamonica Riscoperta,Ecoedizioni.Italy.pl4.
Anati Emmanuel 1990 10,000 Anni Di Storia In Valcamonica,Edizioni del Centro,Capo di Ponte.
Anati Emmanuel 1994a Valcamonica Rock Art-a new history for Europe,Edizioni Del Centro,Capo di Ponte,pp9,157-176,23-46,179.
Anati Emmanuel 1994b Worm Rock Art-The Primordial Language,Edizioni Del Centro,Capo di Ponte,pp11.
Anati Emmanuel 2004a The Camonica Vally:45 Years of Archaeological Research,The Future of Rock Art-a Worm Review,Riksantikcadeambetet.
Anati Emmanuel 2004b Introducing The World Archives Of Rock Art(WARA):50000 Years Of Visual Arts".21 Valcamonica symposium,pp55.
Anati Emmanuel 2007 《艺术的起源》中国人民大学出版社,pp36,15,52。
Anati Emmanuel 2008 The Civilisation of Rocks,Edizioni Del Centro,Capo di Ponte.
[2]Andr(?)e Rosenfeld 1988 Rock Art conservation In Australia,Australian Government Publishing Service,Canberra.
[3]Angelo Fossati 2003 Topographical Representations In The Valcamonica Rock Art Tradition:Typology,Chronology And Interpretation,Rock Art In Landscapes-Landscapes In Rock Art,Tapir Akademisk Forlag,pp31-32.
[4]Antero KARE 2004 Cluster Of Sites:Rock Paintings In Finland.ⅩⅪ Valcamonica Symposium.Edizioni Del Centro.pp280.
[5]A.R.Willcox 1965 Rock Paintings Of The Drakensberg,MAX PARRISH,52.
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[8]Beth and Ray Hill 1974 India Petroglyphs of the Pacific Northwest,Hancock House Publisher LTD.Canada
[8]博厄兹,金辉译1989 《原始艺术》,上海文艺出版社。
[9]Bohuslan and φstfold 2000 Rock Carvings In The Borderlands,Warne F(o|¨)rlag.179.
[10]Brian D.Dillon,1972 Rock Art of East Mexico and Central America:An annotated,Monograph X,,institute of Archaeology,University of California,Los Angeles.
[11]Campbell Grant 1967 Rock Art of the American Indian.New York:Thomas Y.Crowell.
Campbell Grant 1983 The Rock Art of the North American Indians.Cambridge,Eng.:Cambridge University Press.
[12]G.Jung 1964 Man and His symbols,Aldus Books,London.pp232-233.
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陈兆复 1995 《出访印度》,载《岩画》(第一辑)中央民族大学出版社,pp102-103.
陈兆复 2002 《古代岩画》,文物出版社,pp2。
陈兆复 2003 《岩画:人类早期的视觉表达》西南民族大学学报,人文社科版,2003年12期。
陈兆复 2004a Chinese Rock Art ResearCh in the Twentieth Century,The Future of Rock Art-a World Review,Riksantikcarieambetet.
陈兆复 2004b 《岩画学概论》,中国岩画研究中心。
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2Ruth Benedict,Patterns of Culture,the New American Library,1949,pp2.
1陈兆复《岩画学概论》中央民族大学民族学与社会学学院中国岩画研究中心,2005,pp10.
1李福顺,《中国岩画断代方法概说》1995年《岩画》,中央民族大学出版社,pp23-33。
1在他之前一些研究岩画的波兰学者基本上都足在中亚当地放牧者的引导下发现岩画的。
2Anati,World Rock Art-The Primordial Language.EDIZIONI DEL CENTRO,1994,pp45.
1 Anati,The Civilization Of Rock,EDIZIONI DEL CENTRO,2008,pp267.
1奈杰尔·巴利《天真的人类学家--小泥屋笔记》,上海人民出版社2003年8月,pp52。
2梁漱溟《人性与人生》,学林出版社1984年,pp92。
3费孝通《文化中人与自然关系再认识》,摘自《论人类学与文化自觉》,华夏出版社2004,pp228。
1阿纳蒂:《艺术的起源》中国人民大学出版社2007年,pp63。
1Anati,Prologue-A World Planning For Inventory,Preservation And Appreciation Of Prehistoric Rock Art,Rock Art Of India,ARNOLD-HEINEMANN,pp32.
1Anati,World Rock Art-The Primordial Language,EDIZIONI DEL CENTRO 1994,pp59.
1阿纳蒂《艺术的起源》,中国人民大学出版社2007,pp413。
2同上,pp413.
3阿纳蒂《艺术的起源》,中国人民大学出版社2007,pp414..
1阿纳蒂,《艺术的起源》,中国人民大学出版社2007年,pp443。
1阿纳蒂,《艺术的起源》,中国人民大学出版社2007年,pp453.
2阿纳蒂,《艺术的起源》,中国人民大学出版社,2007年,pp354。
1阿纳蒂,《艺术的起源》,中国人民大学出版社,2007年,pp365。
1阿纳蒂,《艺术的起源》,中国人民大学出版社,2007年,pp382..
1阿纳蒂,《艺术的起源》,中国人民大学出版社,2007,pp381。
2阿纳蒂,《艺术的起源》,中国人民大学出版社,2007,pp114。
1谈歌,《绝士》载于《十月典藏品:青卷·中篇小说》,2003,pp69。
2陈兆复《岩画学概论》(书稿),中国岩画研究中心,2005,pp1。
3汪宁生《文化人类学调查》文物出版社2002年,pp179。
4Anati,THE CIVILIZATION OF ROCKS,EDIZIONI DEL CENTRO,2007,pp15.
1 周兴华,《史前岩画与原始语言》来自《岩画探秘》宁夏人民出版社2006年6月。
1Anati,La CIVILTA delle PIETRE,EDIZIONI DELCENTRO,2004,pp37陈兆复,《古代岩画》文物出版社2002年,pp221。
1陈兆复《古代岩画》文物出版社2002年,pp228。
2恩斯特·卡西尔《语言与神话》,三联书店1988年6月。pp73。
1阿纳蒂《艺术的起源》中国人民大学出版社2007,pp58。
1Anati,World Rock Art-The Primordial Language,EDIZIONI DEL CENTRO 1994,pp45.
1Anati,World Rock Art-The Primordial Language,EDIZlONI DEL CENTRO,1994a,pp35.
2阿纳蒂《艺术的起源》中国人民大学出版社2007,pp109。
1宋耀良“跋”载《中国岩画考察》台湾:联经出版事业公司1998年10月版,p387-388。
[1]Anati Emmanuel 1961 Camonica Vally,A depiction of village life in the Alps from Neolithic times to the birth of Christ as revealed by 1000's of newly found rock carvings.Translated from French by L.Asher.Alfred A.Knopf,NEW YORK,pp14-20
Anati Emmanuel 1976 Evolution And Style in Camunian Rock Art,Edizioni del Centro,Capo di Ponte,pp23-27.
Anati Emmanuel 1977 Methods of Recording and Analyzing Rock Engravings,Edizioni del Centro,Capo di Ponte,ppl0.
Anati Emmanuel 1978 Method of Recording and Aanalyzing Rock Engravings',Acts of the International Symposium on Rock Art,Universitetsfoflaget,Oslo/Bergen/Tromosφ,pp145.
Anati Emmanuel 1984a The State Of Research In Rock Art-A World Report Presented To UNESCO,BCSP 21,EDIZIONI DEL CENTRO,18.
Anati Emmanuel 1984b Prologue-A World Planning For Inventory,Preservation And Appreciation Of Prehistoric Rock Art,Rock Art Of India,ARNOLD-HEINEMANN,32.
Anati Emmanuel 1989 Valcamonica Riscoperta,Ecoedizioni.Italy.pl4.
Anati Emmanuel 1990 10,000 Anni Di Storia In Valcamonica,Edizioni del Centro,Capo di Ponte.
Anati Emmanuel 1994a Valcamonica Rock Art-a new history for Europe,Edizioni Del Centro,Capo di Ponte,pp9,157-176,23-46,179.
Anati Emmanuel 1994b Worm Rock Art-The Primordial Language,Edizioni Del Centro,Capo di Ponte,pp11.
Anati Emmanuel 2004a The Camonica Vally:45 Years of Archaeological Research,The Future of Rock Art-a Worm Review,Riksantikcadeambetet.
Anati Emmanuel 2004b Introducing The World Archives Of Rock Art(WARA):50000 Years Of Visual Arts".21 Valcamonica symposium,pp55.
Anati Emmanuel 2007 《艺术的起源》中国人民大学出版社,pp36,15,52。
Anati Emmanuel 2008 The Civilisation of Rocks,Edizioni Del Centro,Capo di Ponte.
[2]Andr(?)e Rosenfeld 1988 Rock Art conservation In Australia,Australian Government Publishing Service,Canberra.
[3]Angelo Fossati 2003 Topographical Representations In The Valcamonica Rock Art Tradition:Typology,Chronology And Interpretation,Rock Art In Landscapes-Landscapes In Rock Art,Tapir Akademisk Forlag,pp31-32.
[4]Antero KARE 2004 Cluster Of Sites:Rock Paintings In Finland.ⅩⅪ Valcamonica Symposium.Edizioni Del Centro.pp280.
[5]A.R.Willcox 1965 Rock Paintings Of The Drakensberg,MAX PARRISH,52.
A.R.Willcox 1984 The Rock Art of Africa,Croom Helm,London & Canberra.
[6]BELZONI,G.1820 Narrative of the operations and recent discoveries within the pyramids,temples,tombs and excavations in Egypt and Nubia,Vol.1.London.
[7]Benjamin Smith 1997,zambia's Ancient Rock Art-The Paintings of Kasama,The National Heritage Conservation Commission of Zambia,pp13.
[8]Beth and Ray Hill 1974 India Petroglyphs of the Pacific Northwest,Hancock House Publisher LTD.Canada
[8]博厄兹,金辉译1989 《原始艺术》,上海文艺出版社。
[9]Bohuslan and φstfold 2000 Rock Carvings In The Borderlands,Warne F(o|¨)rlag.179.
[10]Brian D.Dillon,1972 Rock Art of East Mexico and Central America:An annotated,Monograph X,,institute of Archaeology,University of California,Los Angeles.
[11]Campbell Grant 1967 Rock Art of the American Indian.New York:Thomas Y.Crowell.
Campbell Grant 1983 The Rock Art of the North American Indians.Cambridge,Eng.:Cambridge University Press.
[12]G.Jung 1964 Man and His symbols,Aldus Books,London.pp232-233.
[13]Chapline.J.H 1974 Prehistoric art of the lake Victoria region,Azania,Ⅸ,pp1-48.
[14]陈兆复1991 《外国岩画发现史》,上海人民出版社。
陈兆复 1992 《中国岩画发现史》,上海人民出版社,pp27-28,。
陈兆复 1995 《出访印度》,载《岩画》(第一辑)中央民族大学出版社,pp102-103.
陈兆复 2002 《古代岩画》,文物出版社,pp2。
陈兆复 2003 《岩画:人类早期的视觉表达》西南民族大学学报,人文社科版,2003年12期。
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