«视觉符号与文化流传 — 丝绸之路上的西域视觉图像研究»
新疆处于欧亚大陆中心，又是丝绸之路的重要路段，其特殊的地理生态环境孕育了具有鲜明的东西文化融汇特点的西域文化形态。一种文化的产生、发展和变异，以及特征的形成，既是人们的经济发展与社会环境综合作用的结果，也与人类生存的自然环境的因素和影响密不可分。新疆地域广阔，民族众多，西域地区独特的地理环境，特殊的区位条件，以及丰富的自然资源，导致了自古以来西域多民族分布格局与各地诸民族之间截然相异的生产生活方式，并且养育了西域多民族多姿多彩的地域文化。
新疆在丝绸之路上担任非常重要的角色。不仅是交通枢纽，还是东西方各种物流、人流的集散地。新疆是东西方之间，以及中国北方游牧民族和南部农耕民族间交往迁徙流动的大舞台。不仅是众多民族聚居生活的故乡，也是古代中国、希腊、印度和阿拉伯文明交流影响的通道和汇聚点。季羡林先生曾说过：“全世界历史最悠久、范围最广泛、自成影响而又影响十分深远的文化只有四个，那就是中国文化、印度文化、希腊文化和伊斯兰文化，再没有第五个了，诚然这四个文化的交汇之处只有一个，那就是中国的新疆。” 新疆在古代称之为西域，其西域文化具有东西方经济文化交流融会的人文背景。新疆各地考古发现的萨满教、祆教、摩尼教、佛教、道教、伊斯兰教和基督教遗迹，还有先后在西域出土的各地曾流行过的塞语、于阗文、吐火罗文、汉文、粟特文、吐蕃文、突厥文、回鹘文、阿拉伯文等文书残卷，都充分证实了这一点。所谓 “西域文化”，实际上是一种以东西方文化视野为语境，多源发生、多元并存和多维发展的地域文化。融合性、开放性、变异性是西域多民族文化的显著特点。
宗教在文化信仰和设想中扮演着不可或缺的角色。从这一事实出发，按照宗教在新疆出现的先后顺序分为四个阶段：土著宗教信仰，原始宗教（萨满教)，佛教和伊斯兰教，作为本书研究新疆地区西域视觉图像研究的主线。
新疆是多民族共同聚居、多文化交汇融合的区域，是符号学研究的沃土。自古以来，许多民族东来西走，都在这里留下过印迹。在视觉符号文化方面，自然地呈现出多姿多彩的面目。研究东西方文化交流，不能忽视原始信仰和宗教观念在符号文化中的影响。事实上，许多符号图像也只能用远古的宗教来解释。新疆的宗教文化是开放的、交流的、相互联系的。各种类型文化之间并不是彼此孤立地存在，而是互相联系的。西域佛教是促进东西方文化交流的纽带。新疆伊斯兰教建筑装饰符号中也呈现了多元文化现象。
本书最后探讨了在全球化背景中，新疆处在现今的信息化时代和交流传播社会中，如何做到传统和现代并进，既保持新疆多民族的多元文化特色，又在新的时代得到传承和发展。
The present study focuses on the traditional visual Xiyu-Signs of various ethnic groups with the example of Xinjiang in northwest China, along the ancient path of the Silk Road. The research should be understood as an experiment to a systematic presentation of the symbolic visual world in Xinjiang and therefore in a broader sense as an experiment to preserve the endangered Xiyu-Cultural Heritage. Due to the profound change in China and the Go-West-Strategy of China’s economic programme an efficient way must be found to bring modernization and tradition in harmony.
This study describes, analyses and evaluates exemplarily, how signs and symbols of knowledge and culture have been mixed between eastern and western cultures along the Silk Road in Xinjiang. It displays how they have been transferred and how far the Xiyu-Culture reflects, that Xinjiang was a meeting point of eastern and western cultures. In the process of my research three main questions arose:
Firstly, what can the experience model of the ancient Silk Road contribute to the understanding of cultural development in today’s information age?
Secondly, what does cultural diversity mean for communication in Xinjiang? Is there an increase of media technology in the field of visual communication because of international influences?
Thirdly, how can Xinjiang benefit from the opportunities given by the Go-West-Strategy of China’s economic programme in an increasingly globalized world and find a balance between culture and economic prosperity?
Therefore, this study uses a method that integrates a cultural-anthropological perspective. Characteristics of the traditional visual Xiyu-Signs, their significance for the ethnic groups in Xinjiang and cultural exchanges between Europe and Asia are discussed based on a field work, and the particular influence of trade and transport routes is presented.
The visual signs of the Xiyu-Culture are shown from the time before the Islamization to today’s Islamic period. The research shows that the signs are not place-bound cultural phenomena or local tradition; they are rather influenced by regional, national and international cultures consciously or unconsciously. They are a result of cultural communication. Finally the signs of Xiyu-Culture of Xinjiang are thoroughly researched with the Go-West-Strategy of the Chinese government. Economic development brings to Xinjiang not only modernization and prosperity, but also a cultural and ecological imbalance.
Mankind formed everything into structure, what he perceives around him, with signs. The Xiyu-Signs create a visual structure. The Xiyu-Culture still has influence on the lifestyle of the ethnic groups in Xinjiang. Today, the confrontation between the traditional Xiyu-Culture and economic development has led to a serious conflict in Xinjiang.
This study is a critical interpretation of the current situation of Xiyu-Culture and the Chinese economic program in Xinjiang. It also contributes to the analysis of the hitherto insufficiently recognized interactions between history, culture, politics and economics of cultural globalization in Xinjiang.
Book Cover
新疆吐峪沟麻扎村 Tuyoq village, Xinjiang, China.
吐峪沟石窟是新疆东部开凿年代最早、规模最大的佛教石窟遗址群。The Tuyoq Buddhist Grottoes in Shanshan County, Xinjiang
黄河中原新石器时代仰韶文化 Yangshao culture (c. 5000 – 3000 BC), a Neolithic culture that existed extensively along the Yellow River in China
黄河中原新石器时代仰韶文化的西传 Different signs in the Yangshao culture (left) and in Xinjiang (right)
从发现于新疆米兰遗址，具有浓郁西域绘画风格的有翼天人，可以看出犍陀罗艺术东渐的清晰脉络。Angel. Turfan Toyuq. Shanshan. The ruins of Miran in Xinjiang. This Greco-Buddhist art is a strong example of cultural syncretism between eastern and western traditions.
左图：飞天残片。唐。新疆吐呦沟。右图：具有典型唐代风格的卷云纹 Left：A fragment of flying apsaras. Tang Dynasty. Turfan Toyuq. Right: Cloud pattern in Tang style.
忍冬纹的东传 Honeysuckle pattern and Rolling grass pattern as patterns spread on the silk road
位于新疆喀什的阿巴和加麻札 The Afaq Khoja Mausoleum in Kashgar, Xinjiang
2012年笔者在新疆地区进行民俗学，符号学，人类学的实地调查，这一研究项目现在仍进行中。 Field research of folklore, semiotics and anthropology in Xinjiang, the research is still ongoing.
作者：陈璞
Autor: Pu Chen
书籍设计：陈璞
Editorial Design: Pu Chen
发表：德国国家图书馆
Publish: DNB ( GERMAN NATIONAL LIBRARY)