宗教人物 – Religious figures

宗教人物：

下面我们介绍三件与原始宗教礼仪相关的人物造型：

Religious figures:

Here we introduce three figures associated with original religious rituals:

Fig 1.3

1.3      长耳垂人

高19.5cm，宽12cm，厚9cm ，重2.1kg。

青玉，玉质温润，全沁呈棕红色。

其造型为一高大魁伟之双手合十长耳垂人，呈蹲式，双手

合十于胸前。头部造型与南宋杭州飞来峰石刻布袋弥勒相

似，环目，蒜头鼻，嘴角上弯，满面笑容，大耳垂肩，一

副欢快慈祥的面孔。整体造型生动，比例适度，对称性

好，加工洗练。泛红山文化玉器中出现类似布袋弥勒之造

型，向人们揭示了原始宗教神秘的传承性。此件玉器为研

究泛红山文化的原始宗教提供了重要的实物资料。

《山海经》中有关于“聂耳国”的记载，聂耳国人有拉长耳朵的习俗，

这一习俗曾扩散到太平洋周边的一些地区，如法属破里尼西亚群岛，

复活节岛等地。这些地区的原住民至今还保持这个习俗。顺便告诉你

一个小秘密：经常拉捏耳朵真的有利于健康。

1.3     Man with long ear lobes

High: 19.5cm, width: 12cm, thickness: 9cm, weight: 2.1kg.

The jade is in good quality, green in color with reddish brown markings.

The modeling is a tall burly man, squatting likes. He has a pair of long ear lobes, his palms facing together in front, his head shape just like the Maitreya Buddha in Buddhism, lips curved, smiling like, and large lobes drooped on shoulder, a happy face with compassion. The overall shape is vivid, moderate proportion, symmetry good and refined.

The similar image of the Maitreya Buddha occurred in the Pan-Hongshan cultural jade group revealed the mystery of the original religions inheritance. This jade statue is an important practical material for studying the primitive religion.

“Shan Hai Jing” classics has recorded the old country named Nie Er, stretching ears was a particular custom in that country, this custom had spread many parts of the Pacific rim, such as the French Polynesia, Easter Island and other regions, the indigenous people of these regions have been remaining the custom. By the way, tell you a little secret: elongating ears is rally conducive to health.

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Fig 1.4

1.4   盘坐姿女子

高7cm，宽2.5cm，厚1.5cm。

青玉，玉质莹润，有红色沁色。

其造型为一女子，盘坐，双手合十贴于胸前，大头、大

眼，眼梢上挑，扁鼻，闭口，短发披散于耳边，颈后有一

对钻牛鼻穿。整体造型为一盘坐修练的女子，亦或是一尊

女神像。此造像证明盘坐修练姿势并非始于佛教，原始宗

教已有。《山海经》中有“交胫国》的记载，交胫即是

两小腿交叉的盘坐姿，是原始宗教中祭拜的姿势。

1.4    Woman in cross-leg sitting posture

High: 7cm, width: 2.5cm, thickness: 1.5cm.

The jade is in good quality, green in color with red markings, waxy luster.

The modeling is a cross-leg sitting woman, her palms facing together to put front of her chest. She has big head, big eyes, and flat nose.  Her eyes slope upward, short hair spread by the ears. There is an ox-nostril-shaped hole back of her neck. The overall shape is a practice woman or a goddess statue. From this statue we know that this practice style not started from Buddhist, it began with primitive religion.  There is a “cross-shin state” recorded in <Shan Hai Jing> classics, “cross-shin” means sitting and two shanks in cross-shaped posture, it is the practical posture in primitive religion.

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Fig 1.5

1.5 巫师

高6cm，宽2cm，厚2cm。

熊胆青玉，有灰皮及棕红沁色。

造型为一立姿巫师，两眼望天，双手合于脑前，掌心向

外。身着长衫，腰下系一玉鹰，朝向正面。颈后有一对钻牛

鼻穿。

巫师腰下饰鹰，表示鹰是他的氏族图腾。值得注意的是在

良渚文化玉器中也有与此相似的巫师造像，这显示了原始宗教的传承。

1.5   Wizard

High: 6cm, width: 2cm, thickness: 2cm.

The jade is in dark green color, gray skin covered, and reddish brown markings.

It is a standing shaman modeling. His eyes slope upward; hands closed together and put on his chest, palms facing outward. He wore a long gown; a jade eagle was hung on his waist, back of his neck with an ox-nostril hole. The eagle he wore is his clan’s totem. It is noteworthy that there was the similar shaman statue to this one in Liangzhu cultural jade works; it shows the inheritance of the primitive religion.

关于原始宗教的传承：

从以上三件原始宗教的人物造型，我们知道现代的很多宗教礼仪源自末次冰期时期的原始宗教。由于原始氏族社会人们的一切社会活动都是与原始宗教密切相关的，原始宗教是原始氏族社会的领导核心，也是文化中心，集中地体现了当时的文化水平和文明层次，所以原始宗教对后世的传承不仅是宗教礼仪的传承，更重要的是文化的传承。末次冰期的晚期我们人类在世界上很多地区创建过文明，这些文明不幸被末次冰期结束时的巨大自然灾难所毁灭，但很多文明因素传承到新石器时期，这种传承的重要媒介即是原始宗教。

Above primitive religious heritages:

From the above three figures we know that many modern religious rituals from the Last Glacial primitive religion. Since all of the people’s social activities were closely related to the primitive religion in the original community. The original religion was the core of the leadership and the cultural center in the primitive clan society, it epitomized the then levels of the culture and civilization, so original religious heritages for future generations were not only a religious ritual tradition, more important were the cultural heritages. During the Late Last Ice Age our humans had created civilization in many places in the world, these civilized regions unfortunately were destroyed by the huge disasters in the end of the Last Ice Age, but many civilized factors had been passed to the Neolithic period, the important medium of the heritage was the original religion.

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Introduction of the book “The Earliest Miraculous Treasure–Pan–Hongshan Cultural Jade Group”

Here is an introduction which is also an excerpt from my book on Pan Hong Shan Jade Culture.  It is written in Chinese and roughly translated to English.  Please email me or comment below if you would like to discuss on this topic.  Also if you are interested in the book, you may contact me as well.

《万古奇珍—泛红山文化玉群》简介

本书系通过一大批远古红山文化型玉器的研究，发现了一个被遗落的远古文明时代。该文明与新石器时期中国北方的红山文化直接相关，其时空范围涵盖了红山文化，作者以“泛红山文化”命名之，与之相应的玉器群称为“泛红山文化玉群”。泛红山文化始自末次冰期，是高水平的史前文化。是中华文明以及患太平洋地区文明的源头。

本书属文物考古范畴，是一部重要的史前考古文献，也是一部精美的远古雕塑艺术大典籍。

本书的概论题为“穿越时空的探索—论泛红山文化玉群”，该论文通过对泛红山文化玉群的研究，论证了自末次冰期晚期直至新石器时期悠长的时间范围内，及 自东北亚横跨北太平洋直至美洲西北部的广阔范围内曾经有过以 “泛红山文化”为代表的时期人类文明，并且对楷文化的性质做了具体的分析和研究。其内容涉及：

1. 原始氏族社会的各类原始崇拜，如自然崇拜、祖先崇拜、生殖崇拜、性崇拜、图腾崇拜等，以及原始宗教的地位和作用；
2. 在史前文化中独具特色的外星生命体崇拜，以及外星科技介入人类文明的可能性；
3. 泛红山文化的时空范畴以及它与红山文化的关系；
4. 泛红山文化向环太平洋地区扩散；
5. 泛红山文化与当是世界上不同地区的文化交流以及当是存在世界性整体文明的可能性；
6. 对玉群中大量融合体造型的分析；
7. 基因改造产生现代人的可能性；
8. 泛红山文化玉器的特点等。

著名历史学家何光岳先生为本书作序，他对于本书的观点予以肯定，并给予本书很高的评价。

书中工选用泛红山文化玉器530件。分为九大系列（即书中的九章），系统地，图文并茂地展现了泛红山文化的神奇风貌。其九大系列分别是：

第一章．      人、神系列；

第二章．      龙系列；

第三章．      飞禽系列；

第四章．      走兽、家畜系列；

第五章．      昆虫系列；

第六章．      水族系列；

第七章．      生殖文化和性文化系列；

第八章．      外星生命体系列；

第九章．      器物系列。

《万古奇珍—泛红山文化玉群》是一部重要的史前考古文献，也是一部精美的远古雕塑艺术大典籍。它是史前文明研究和古玉器研究不可多得的经典之作。作者对泛红山文化玉群进行了理论研究，同时还展示了500余件泛红山文化玉器的精美图片。该书同时具备了文献和图典的双重性质，收藏价值很高。下面是书中各章的图片选。

Translated:

  A lost prehistoric civilization was discovered by means of studying a large number of Hongshan type jade. This civilization directly related to the Hongshan culture in North China during the Neolithic period. Its spatial and temporal span covered the Hongshan culture, so the author called it “Pan-Hongshan culture”. Its corresponding jade group was called “Pan-Hongshan cultural jade group”. The Pan-Hongshan culture began in the Last Ice Age. It’s a high level prehistoric culture. It’s an important source of civilization of China and the area of Pacific Rim.

This book belongs to the category of the archaeology of the cultural relics. It’s an important prehistoric archaeological document and an elegant prehistoric sculpture art book too.

There is an article: “The exploration of crossing the time and space —-On Pan-Hingshan cultural jade group” on the beginning of this book. Going through the study of the Pan-Hongshan cultural jade group, the author proved that there was a prehistoric civilization represented by Pan-Hongshan culture during the late of the Last Ice Age, its area was from Northeast Asia across North Pacific Ocean to North America. The author has made a concrete analysis and research on its cultural characteristics. A number of academic problems were dealing with in the book, such as:

1. The different kinds of original worship in the clan society, such as worshipping the nature, worshipping the ancestor, worshipping the reproduction, worshipping the sex, totemism etc, and the social position and function of the original religion.
2. Worshipping the fantastic living bodies of the outer space in the prehistoric culture period and the possibility that the alien and its space science and technology participated in the development process of human civilization.
3. The spatial and temporal span of the Pan-Hongshan culture and the relationship between the Hongshan culture and the Pan-Hongshan culture.
4. The Pan-Hongshan culture spread to the area of Pacific Rim.
5. The cultural exchanges among the Pan-Hongshan culture and other cultures in different areas of the world and different races in the world, and the possibility of existence of an integrity civilization of the world at that time.
6. The analysis of all kinds of the integrated art objects in the Pan-Hongonshan cultural jade group.
7. The possibility of producing modern human beings by means of gene reforming.
8. The distinguishing features of Pan-Hongshan cultural jade works.

Mr.He Guang Yue the famous historian prefaced this book with an introduction. He affirmed the viewpoints proposed by the author, and gave a high evaluation on this book.

There’re 528 photos of Pan-Hongshan cultural jade pieces in the book. They were divided into nine series (nine chapters).They are:

Chapter 1        The series of human and deity

Chapter 2        The series of dragon

Chapter 3        The series of bird

Chapter 4        The series of beast and livestock

Chapter 5        The series of insect

Chapter 6        The series of aquatic animal

Chapter 7        The series of reproductive culture and sex culture

Chapter 8        The series of living body of the outer space

Chapter 9        The series of utensil and ornament

This book is an important archaeological document as well as a classical archaic jade picture album; it’s a useful reference book for the scholars who study the archaic jade or the prehistoric civilization. It has high collection value.

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Pan Hong Shan Chinese Jade Culture

Books I’ve written and published:

http://www.cbi.gov.cn:8080/wiseroot/pages/CBIen/booklist.page?bstype=Author&bskey=Yang+Tianyou

I will try to post regularly regarding Pan Hong Shan and other Neolithic Chinese Jade Culture topics and will include pictures from my collection for discussion.

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