Since Shan Hai Jing recorded "the country that wears a chest", there are countless records about "the person who wears a chest". Except that Yang Fu in the Eastern Han Dynasty clearly pointed out that "the man who wears a chest" is related to foreign affairs, most of the records give people the intuition of "wearing a chest". Because of the intuition and inconceivability of "chest piercing", after liberation, most scholars attached themselves to "Yang Fu's theory", and many scholars found another way to interpret many different "chest piercing people". But because these explanations are too far from intuition, they give people an unreal feeling. On the basis of a large number of documents, this paper tries to restore the original appearance of "the man who wears a chest" from the characteristics of ancient society and combined with cultural relics. People who wear breasts are also called "people who wear breasts", also called "wearing Hungary", "wearing breasts" or "wearing Hungary", and their domain is called "wearing countries" or "wearing countries". Its records can be traced back to Shan Hai Jing written by Zhou people and Qin people. According to this book, the Overseas South Classic says: "The country that runs through the chest is in the east, and it leads to Hungary." The Chronicle of Bamboo Books, written in the Warring States Period, also says: "In 59 years, the guest followed the Huns." At about the same time, Yizhoushu contained: "Because of the West Kunlun, the dog country, the ghost family, the bitter orange, piercing ears, carving inscriptions ... please be a Danqing ... turtle as a sacrifice." By the early years of the Western Han Dynasty, Huainanzi Terrain contained: "From southwest to southeast, people with breasts ... make friends with shareholders, not people who are dying, people who wear breasts, and people who talk back." Jiao Gan of the Western Han Dynasty said in "Yilin": "A dog wearing a chest is stiff from its side." In the Southern Dynasties, Liang Lu left a tribute to the inscription of the sparrow, saying, "If you wear a chest and show your top, you will sit on the top of the ridge, and you will win the first place by supporting the flag." It can be seen that the early records of The Chest Piercer have the same characteristics as the predecessors' understanding of the early ethnic groups, that is, brevity, strangeness and mystery. It reflects the real existence of "chest-piercing people" as a southern ethnic group. Until modern times, "chest-piercing people" were still remembered as ethnic groups. Liu Xingwei, a A Qing dynasty, said in the preface of Li Qi's Moon Hee: "My ear pierced my chest." Volume 2 of "Biography of Qingyun over the years" also contains: "In ancient times, it was called Tianzhu, coughing head, idle heel, lame heel, piercing chest, hearing ears, dog thorn and side ridge, which was called eight savage battles."
There are also concrete and grotesque records about the "man wearing a chest". In the Eastern Han Dynasty, Yin Gao wrote in the Topography of Huainanzi: "The man who wears the chest wears the heart and the back.". "Zhou Zhizhong's Exotic Records of the Yuan Dynasty said:" If you wear a chest country, you will know your chest better than Haidong, and the honorable person will undress, so that the humble person will have a bamboo chest. "These records are surprising because of the lifelike description, and" The Man in the Chest "has left more mysteries because of such records.
Since the Wei and Jin Dynasties, there have been many myths about people who wear chests, and the records of the previous generation have become the "scripts" of these myths and have been interpreted into articles. This myth makes future generations have more doubts about "wearing a chest". Zhang Hua, a native of A Jin, Natural History, Volume 2: "Wear a chest country. Once upon a time, when Yu Heng was alive, she would go to see the princes and take a look at the wild land to prevent the Feng family from coming from behind and killing them. When Friedrich Hirth was prosperous, two dragons came. Yu Lifan Chengguang is an imperial soldier and travels abroad. A week later, the second wind protection minister saw Yu's envoy with Tu Shan's seal, and killed him in a rage, and the two dragons got up. The second minister was afraid. He died and a sharp knife pierced his heart. Yu's funeral is to pull out his blade to heal the fairy grass and pierce the chest for the people. " In an era full of myths, it is more in line with people's speculation that "people who wear chests" will be resurrected by stabbing their chests to death. However, many related records are about mass customs, and this myth is just a sudden legend of two ministers "wearing chests", so there are many axe marks.
Most of the above records are intuitive, but they are not enough to believe that "people who wear chests" are said to have holes in their chests and can wear bamboo and other things. However, it is not difficult to see from many records that the custom related to "chest piercing" really prevailed in the south at that time.
The ancients tried to get rid of the strangeness and confusion of "wearing a chest" a long time ago, and finally found the material evidence that can be attached from the clothing modeling. The initiator was Yang Fu of the Eastern Han Dynasty, who described the "man wearing a chest" with the costumes of Baiyue people in Lingnan. According to "Taiping Yulan" Volume 790 quoted from "Foreign Body Record" cloud: "Those who wear breasts have two feet sewn on their clothes, both ends are wide, the middle is open, the head is through, and the chest is not convex." This kind of dress is called "headgear" in history. Since then, many documents have recorded that many ethnic groups in the south wear "head clothes". If Yang Fu's records were true, it would have been a good opportunity to rehabilitate those who wear chests, but it is strange that the people who wear chests are not called "chest wearers", which shows that Yang Fu's "theory of wearing chests" has few followers in history.
The theory of chest piercing has long been influenced by two interpretations. In history, "people wear breasts" gives people an intuition of wearing breasts, while Yang Fu's "wearing breasts" is only an isolated case. However, due to the incredible penetrating power of the chest, scholars now prefer to understand the culture of "people wear breasts" from the national costume customs. After liberation, many scholars followed Yang Fu's statement. His view was accepted because he brought people out of the intuitive nightmare of "wearing a chest", so it was regarded as a standard by many scholars. In the history of Li nationality, Wu believes that the so-called chest wearers are named after their clothes. In the History of Three Emperors and Five Emperors, Dong further confirmed that "in fact, the country that wears breasts is the country that wears skirts", because "breasts" wear skirts. Wu's basis comes directly from yangfu's statement, while Dong tries to find more basis for yangfu's statement.
Scholars who hold the theory of "clothing" are also inconsistent with "Yang Fu's theory", but their opinions are obviously influenced by Yang Fu. According to the costumes of some ethnic groups at that time, such as the Japanese, recorded in the stories of the Eastern Han Dynasty, Xu Xianzhi said: "The Japanese are in the southeast sea, and their people are connected horizontally." It is considered that "chest piercing" means "chest knot" and "chest piercing" means "chest knot", and the way of "chest knot" is "wearing cloth without cutting, but connecting the eyes on the chest with ropes." Huang Huaixin and others said in Yizhou Book Collection Note: "Those who wear chests are just carving chests for decoration, not really penetrating the chest back." In The Classic of Mountains and Seas, Wang Hongqi thought that "the man who wears a chest" got its name from "Fang Shi Feng" in natural history, and "Fang Feng" may refer to a special kind of clothing, which is similar to a protective mirror, which can protect the chest and abdomen from injury and prevent colds at the same time. This kind of clothing looks as if there is a hole in the chest and abdomen, so it is called "the man who wears a chest".
Seeing the limitations of the "clothing theory" in history, many scholars are unconvinced by this theory, boldly take the step of exploration, and new theories are constantly emerging.
An Jing believes that "Guan-xiong country" is not really a country with "Qiao" on its chest, but should be a transliteration of the names of western clans, or "Dog Rong", "Dog", "Guan" and "Wear" have the same rhyme and similar sound in ancient times. An Jing put forward that "wearing chest" and "dog glory" are different transliteration of the same clan, which we think is only a possibility, and there is no example.
Zhou believes that "chest" is the mistake of "nose" and "nose piercing" is the custom of primitive tribes, which is still visible today. Taking "chest" as "nose" is actually a simple phenomenon to avoid complex culture, which is not desirable. Because even if there are many examples of the custom of "nose piercing", it can't prove that "chest piercing" never existed.
In the interpretation of folk information in Shan Hai Jing, Geng Liyan thinks that "piercing the chest" is a misunderstanding of Shan Hai Jing by later generations. In ancient paintings, the bamboo and wood with chest piercing is actually a sliding pole that carries people along the mountain road, and the bamboo and wood with chest piercing is to lift people up with a pole. Geng Liyan's interpretation is original, and he made a graphical understanding of "people wear breasts", but he ignored it.
Ethan, a modern scholar who dares to assert that the "chest-piercing people" in history came directly from the intuitive "chest-piercing", thinks that the so-called chest-piercing is to pull up the skin on the chest or back and stab a hole with a knife to see who is brave. It is pointed out that this custom still exists in Southeast Asia such as Vietnam and Thailand. He also believes that the culture originated from the Korean nationality of Baiyue nationality in the south of China, and also inherited the "chest-piercing" culture. According to "The History of the Three Kingdoms" and "Korea", "The state did one thing, and the official envoy built a city. All brave young people cut their backs, put a big rope through them, and cheered all day long without feeling pain." Wang Hongqi also has a conjecture about "the man who wears a chest". He believes that the name of "wearing a chest" comes from Fang Feng's behavior of "wearing a heart", which may be a custom similar to suicide by caesarean section. Ethan and Wang Hongqi's understanding of the "man wearing a chest" is very close to the intuition of the "man wearing a chest", but their understanding lacks the support and confirmation of ancient culture. To solve the mystery of "the man who wears a chest", it is necessary to interpret the Classic of Mountains and Seas and understand the era culture of the early life of "the man who wears a chest".
Shan Hai Jing is an ancient geographical work of China. When The Classic of Mountains and Seas was written, it spanned the Warring States Period, and witchcraft prevailed before and after, leaving traces of witches and being influenced by witchcraft. The Classic of Mountains and Seas, recognized by academic circles, is a fantastic book, and its strangeness is due to some witchcraft elements.
Many scholars believe that The Classic of Mountains and Seas is the first illustrated book, and witch pictures are one of the sources of The Classic of Mountains and Seas. Then there is Shan Hai Jing, which combines pictures and texts. The original book of Shan Hai Jing has been lost, because it is not easy to pass down. However, Tao Yuanming in Jin Dynasty had a poem "Looking at the Classic of Mountains and Seas", and Guo Pu also handed down the Classic of Mountains and Seas. He made notes for the book, including "The picture is also in the shape of a cow" and "Today's picture is a red bird". Ma Changyi believes that "the writing process of the mother and mother (a considerable part) of Shan Hai Jing is likely to be similar to the witchcraft activities and witchcraft words used by these ethnic groups. The text part was originally an explanation of the ancient witch map, which was passed down and revised many times before the Classic of Mountains and Seas we saw. Therefore, it is more well-founded and credible to think that Shan Hai Jing mainly comes from witchcraft. "
Lu Xun said in A Brief History of Chinese Novels that according to The Classic of Mountains and Seas, "Most of the things contained in shrines are miscellaneous (polished rice). Combined with witchcraft, this book is judged to be "an ancient witch book." He reasonably explained the original nature of The Classic of Mountains and Seas, and determined the date of its completion, which had far-reaching influence.
The origin of witchcraft is very old, which can be traced back to the late Paleolithic period, and there were more beliefs in witchcraft in the Neolithic period.
In fact, witches are the product of the development of human social civilization to a certain stage. There are many reasons for their appearance, and so are their roles in society. Witches played an important role in ancient society. Witches have a profound influence on the traditional culture of China. Later, with the development of history, the status of witches has been declining. This is especially true of the Han nationality, and the social role of witches of ethnic minorities has also continued due to social development.
Witch religious activities displayed in Shan Hai Jing abound. More than half of this book is about witches. Here are just two examples:
"Overseas Western Classics" contains: "Wu Xianguo is in the north of the ugly girl, with a green snake in his right hand and a red snake in his left hand. In Deng Baoshan, witches go from top to bottom. "
"Xiye Jing" contains: "There are Lingshan, Wu Xian, Wu Yi, Wu Yi, Wu Peng, Gu Wu, Zhen Wu, Wu Li, Wu Di, Wu Xie, Wu Luo and Shi Wu, and all the medicines have been here since then."
The above-mentioned Yuan Ke thinks that the wizard group takes the mountain as a ladder to communicate with God. Judging from the running of witches and the "snakes" they played, the primitive religious activities at that time were huge.
Many difficult parts of the book are related to witchcraft activities in ancient society. For example, "Overseas South Classics" says: "Immortals are in the east, and they are black and live forever." The "immortal man" is not really "immortal", but pursues the eternal life of the soul. This "eternal life" is symbolically obtained from their witchcraft activities. Similar descriptions fill many chapters of Shan Hai Jing.
Any "wizard" must have a broad sense of witchcraft skills, and the skill level is the wizard's skill, which determines the fate of a belief. Therefore, wizards attach great importance to the acquisition, inheritance and development of witchcraft skills. Shan Hai Jing reproduces the witchcraft skills of many wizards. For example, "Overseas South Classics" says: "Tired Ofthe Fire is in the south of the country, with black body and fire in his mouth." "Black body" should refer to the dressing up of people attending religious ceremonies. It is an ancient witchcraft with uncomplicated techniques. The application of witchcraft skills can also be seen in scenes such as "driving away drought and seeking rain" in the Great Northern Wilderness Classic and "saving the body with medicine after witchcraft" in the Overseas Western Classics. Although these witchcraft techniques may not be true, they are the primitive beliefs of early humans.
The strangeness in Shan Hai Jing is the result of primitive people exploring the world from the perspective of myth, which reflects their initial understanding of man and nature. At that time, except for some things, most of them were painted with religious mystery and looked deformed and distorted. The Classic of Mountains and Seas shows us an extremely complicated primitive religious world. Its omnipresent tentacles give us reason to believe that the "chest-piercing country" living in one corner is also immersed in primitive religion. Wizards have the witchcraft skills of "chest-piercing", and their witchcraft belief of "chest-piercing is an expert".
Because of the historical existence of the witchcraft belief of "chest piercing", later generations continue to write "chest piercing", giving people an intuitive view of "chest piercing". For example, "Huainanzi Terrain" thinks that they "wear their chests to the back." "Rare Records" thinks that they "have a well-thought-out plan, the honorable person takes off his clothes, and the humble person lifts it with bamboo." However, these descriptions can't be examined with the eyes of secular rationality, because they are not narrow factual descriptions, but a true reflection of the narrator's own ideological situation. The so-called truth is the obsession of those who have some primitive beliefs. Under the complicated and solemn religious ceremony, they practiced the witchcraft of "piercing the chest" and sought the protection of the gods to realize their wishes. These people are the "chest-piercing people" in history. Although scholars have a great controversy about the face of "chest-piercing people", there is a general tendency in their living places, that is, "chest-piercing people" live in the south and belong to Baiyue nationality. Regional consistency gives our research a source of living water. To solve the mystery of "piercing the chest", it is necessary to study the culture of these areas, especially their primitive cultural remains. The primitive religious relics here have opened a strange world for us, and many religious activities related to "chest piercing" witchcraft are popular. This witchcraft is regarded as an unusual witchcraft behavior and full of primitive witchcraft. It can be asserted that the impression of "piercing the chest" is caused by the introduction of witchcraft "scenes" of these folk religions, and its appearance has something in common with the mystery of primitive religions.
Religious activities related to "chest piercing" witchcraft are very popular in southern China and its surrounding areas, among which Lei Qiong and other Han cultural areas have the greatest influence. These cultural areas include Hainan people (speaking Hainan Min dialect), Danzhou people and Lingao people's areas, and Leizhou Peninsula Min dialect areas. The cultures in these areas belong to Baiyue cultural system in history. In addition to the above-mentioned Han cultural areas, there are also ethnic minorities in the local Li nationality areas, and some Li nationality areas such as Qili and Jiamaoli in the South Han area around the sea are also circulating. Their religious beliefs are mixed, mainly Taoism, embedded with Buddhist factors, and there are many remains of primitive religions. Their primitive religions are animism, nature worship, totem worship and even ancestor worship, and various sacrificial activities are prevalent. Among them, the religion related to "piercing the chest" is a widely spread ritual activity of "wandering the gods", including offering sacrifices to "presiding", which is called "three uncles" in Hainan Min dialect, meaning teachers and wise men. The locals call Li "Paliang", which means a strange person. Sacrifice time varies from place to place, usually during the Spring Festival and lasts for many days. Some places are related to offering sacrifices to Mrs. Xian, and the activities are generally held during the Spring Festival, which is also the legendary day when Mrs. Xian sent troops to Hainan Island, commonly known as "Junpo", offering sacrifices to many wild places, and "wandering the gods" to visit the countryside to show her strength. Only the fairy lady and some local gods are worshipped. These gods are worshipped by puppets every day, and some are cast in golden bodies to worship ancestral temples. The sacrificial activities of "wandering gods" are similar to shamanism, such as ghost possession and coma. Those who practice this kind of witchcraft are the hosts of the sacrifice, that is, "three uncles" and "Paliang". They use simple rap poems to talk to ghosts and gods and guide them to show their spirits. Under the hypnosis and hallucination of folk drum music "Eight Tones", there are signs of ghost possession and coma, commonly known as "God". They talk to ghosts and gods and tell their experiences and feelings. There are "three uncles" and "Paliang" who worship God, as well as ordinary believers. To show their magic, they used iron bars and other sharp tools to pierce cheeks, stomachs, palms, tongues, ears and other parts. After the ceremony, there was no trace where it was inserted. In some areas, iron bars are replaced by iron pestles, which are carried by six or seven people. A long, thick and sharp iron needle is attached to the pestle head, which is really scary. These religious activities and their "piercing" witchcraft are obviously the remnants of the "piercing" witchcraft in history.
There are many similarities between the worship of "wandering gods" and the primitive religions of many ethnic groups in the south, with amazing consistency in witchcraft rituals and different techniques of performing stunts. The primitive religions of some ethnic groups in southwest China have strong witchcraft skills, and the Yi priest Suni has strong witchcraft skills. When doing so, with the help of the imaginary "Asha" possession, the whole body trembled, jumped and sang instead of God's word until the corners of the mouth blistered and fell to the ground screaming. Some Suni people also practiced a skillful stunt, such as spinning hundreds of pounds of dead sheep in their mouths and swallowing burning bamboo joints into their stomachs. The witchcraft of Naxi wizard Sonny is even more amazing. During the sacrificial activities, he can climb the 36th-floor knife ladder barefoot with a red-hot plough share (covered with cotton) in his mouth. After coming down, you can dance barefoot and perform licking the red-hot plowshare with your tongue.
Southeast Asia is also a place where primitive religions spread, and religious activities related to "chest piercing" are also preserved, and they are more primitive. In the late 1980s, Hong Kong Asia Television released the popular feature film All Asia, which recorded the Asian customs. One of the features recorded the custom of "wearing a chest" in Southeast Asia, which is also a religious ceremony. The witchcraft "scene" in the ceremony is similar to that described in Zhou Zhizhong's Rare Records: "The honorable person takes off his clothes and makes the humble person wear bamboo and wood." This primitive religious "fossil" is enough to dispel the mystery of "people wear breasts" for us.
"Piercing the chest" described in Classic of Mountains and Seas, Huainanzi and Rare Records should be a religious custom in southern China and its surrounding areas in ancient times, including Hainan Island and Leizhou Peninsula. Historically, this area has been inhabited by Baiyue ethnic groups, with mixed ethnic cultures and slow social development, and it is a late-developing area of cultural evolution. "Chest piercing" is an ancient witchcraft. It was originally a religious act of the ancient peoples in the south, and was later passed down by Baiyue descendants, Baiyue descendants of Chinese culture and Han residents who moved here. With the decline of primitive religion, the witchcraft of "piercing the chest" finally disappeared, and it was replaced by wearing cheeks, abdomen, palms, tongue and other parts. However, "chest piercing" was a common form of witchcraft in primitive religion in this area at that time, so the ethnic group that prevailed this custom was called "chest piercing people". But the ancients' pure physiological analysis and imagination of "chest piercing" was wrong, and "chest piercing" was actually just a religious ceremony. It is still explained in the form of surviving religion, which can be traced back to southern culture.
Precautions:
① Eight tones, Chinese folk music. Now it is mainly popular in the south, with eight kinds of musical instruments as the mainstay, and the composition of musical instruments varies from place to place. In Hainan, strings, harps, flutes, flutes, gongs, drums, cymbals and Hu are the main playing instruments.
God Suni.
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