The Shaman Culture Factors Investigation Of The Jurchens Tombs

The Shaman culture factors investigation of the Jurchens TombsFor the present, the Nuzhen (Jurchens) tombs which have been identified as Shaman tombs are few in number in Liao and Jin Dynasties. The identified Shaman tombs and the buried cultural remains provide us tangible materials to research the Shaman in Jin Dynasty. After gathered these tangible materials as far as possible, combined with historical documents and anthropological materials, this paper analyses the cultural factor of Shaman responsed in the Nuzhen (Jurchens) tombs.This paper is composed of five chapters:Chapter One:prefaceNowadays, the remains of Nuzhen (Jurchens) found by archaeological excavation are mainly townsites, sites and tombs in Liao and Jin Dynasties. These are materialized historical memory. As a result, they become the primary subject investigated in Archaeology. Among the remains, as the carrier of societal and cultural activities, the Nuzhen (Jurchens) tombs contain a mass of historical information and cultural connotation. At the same time, the Nuzhen (Jurchens) tombs are the focal point in Niizhen (Jurchens) Archaeology in Liao and Jin Dynasties. This paper combines the Niizhen (Jurchens) remains published at home and abroad in Liao and Jin Dynasties. After integrating and combing the Shaman remains, we can investigate the type of Shaman tombs, the shape of waist bell (a special instrument used in Shaman), the form system of magic idol and the burial custom of Niizhen (Jurchens) influenced by Shaman.Chapter Two:the Shaman tombs of Niizhen (Jurchens)At present, six confirmed Niizhen (Jurchens) tombs belong to Shaman tombs, and can divide into three types. Type A is represented by Russia KeErSa secco’s graveyard M320、M323、M78 and Suibin No.3 tomb. The trait is:all of them are earthen tombs, most exist the trace of burned coffin, buried with Shaman instrument--hanging bell belt. The hanging bell belt is composed of bronze brand decoration and brass bell. Type B is represented by Lindian tomb. The trait is:the owner of the tomb is buried with several bronze mirrors. Type C is represented by Wanyanxiyin tomb The trait is:brick-chambered tomb, puts the stone figure,stone sheep and stone hope column successively on the two sides of tomb gallery. This approach is heavily influenced by the Chinese culture.On the basis, this paper also discusses the gender of Shaman which weighs on researching the development of Nuzhen (Jurchens) Shaman in Liao and Jin Dynasties, meanwhile, deepens the exploration of Niizhen (Jurchens) ideology. Owing to the lack of skeleton specimens’identification, we can only conjecture by the funerary objects and some assistant materials. The female Shaman occupy 60%, far more than the male Shaman, and the number of shaman tombs in Liao Dynasty is more than it in Jin Dynasty.Chapter Three:the hanging bell belt of Niizhen (Jurchens) Shaman costumeThe hanging bell belt consists of buckle, belt article and plaques. Among these, the most characteristic is belt article which has rich Niizhen (Jurchens) ethnic style. As well, this chapter analyzes the shape and feature of monomeric plaques unearthed from the Niizhen (Jurchens) tombs, and investigates the placement of monomeric plaques combined with previous studies. In addition, this part puts emphasis on the discussion of combined plaques’ three types and their own characteristics. Type A, there is bronze brand decoration on the leather belt, and is directly decorated with hanging bell. Type B, there is bronze brand decoration on the leather belt without hanging the bell, and the bell is tied to the belt with a line. Type C, the leather belt hangs bell only. These three types of belt hanging bell are adorned and used by Shaman. There is also a special belt made of bronze plaques without hanging bell Due to loss of voice function, it is not the Shaman wearing item, and should be owned by ordinary people. At last, this chapter introduces several other pendant and their function of the hanging bell belt. Chapter Four:the brass bells buried in the Nuzhen (Jurchens) tombsThis part analysis the brass bells unearthed from the Nuzhen (Jurchens) tombs in types and functions in depth. The brass bells can be divided into four types for the different shapes. Round brass bell is the most common type, followed by oval-shaped bells, the most distinctive are campaniform type and combined type. Each type of bells, according to the difference of their specific shape can be subdivided into different subtypes. Whether alone unearthed or unearthed with plaques, regardless of their specific shapes and changes, the bells are rich in religious significance existing as Shaman ringers. By comparison to the bell unearthed from the Mohe tombs in Tang Dynasty, we can easily reach to the result that the bells unearthed in the the Jurchen tombs of the Liao and Jin Dynasties are in the development of intermediate links They inherite the cultural style of the the Mohe triangle bells, after the five countries of Liao Dynasty and Jin Dynasty, and leave a profound impact on the culture of their direct descendants--Manchu.Chapter Five:the magic idols buried in the Nuzhen (Jurchens) tombThis part is mainly discussion on the basic types and characteristics of the magic idols, and combine with ethnology materials, sum up its contribution to the cultural heritage. There are three main types of the magic idols, human form, animal form and Galaha. Because of different shapes, the human form can be divided into four kinds, that is, knights, overhead bird’s portrait, the boys and buddha. The appearance of human form in Jin Dynasty is not accidental. It has a close relationship with Shaman. The boys is the most common type and found in the largest number This is a reflection of reproductive worship of Shaman. The animal form, we only find a wolf idol which presents the concept of animal worship. The Galaha buried in theNuzhen (Jurchens) tomb is not only numerous, but also very rich in the shapes.The Galaha handicraft is made from animal bones, some crystal, jade, copper, iron and other materials. These Galaha unearthed from the tombs is more than just toy it roots in the animal worship and spiritual bone concepts of northern primitive shaman. It is visible that these works of art are ideological manifestation of shaman What they imply is not limited to the images, but that hidden religious concepts in the description of the idol. This concept is deeply ingrained, and hangs down from generation to generation. Nowadays it still has a profound impact on the religious concept of the ethnic minorities of northern China.Chapter Six:conclusionTo summarize the foregoing article, we can reveal the characteristics and the development trend of Shaman in Jin Dynasty from the type of Nuzhen (Jurchens) shaman tombs and the unearthed Shaman cultural relics. Owing to the continuous strengthening and normalizing of the Jin kingship, the Shaman becomes from a universal spiritual beliefs to a ideological weapon used by the ruling class. The Shaman is dramaticly shocked by Buddhism and other foreign cultures in the intense social changes. Finally, under the pressure from the ruling class Shaman retreat from politics gradually. On account of the deep mass base Shaman is able to persist in the majority of Nuzhen (Jurchens). Just because of this, the Shaman in Jin Dynasty form its own distinctive cultural characteristics.