被"馴化"或熟悉化于社會及個人認知中的民俗器物,往往寄存著豐富的集體記憶,是其所在文化環境及文化認同的外化表達。桂南大蘆村的"跳嶺頭"面具常常被當地民眾"常識化",但實際上,通過對面具神靈人物的分析和追溯,人們可以還原一幅漢族民間信仰文化圖像。用歷史人類學的方法,結合其所在的村落歷史和建筑出現的時間等因素,發現,跳嶺頭這種表相的背后,其實是地方與中央朝廷、邊疆與中原關系的宏大敘事下以勞氏家族為代表的地方精英與理想文化模式互動的渠道和途徑的本相。通過對這樣的內部文化事像進行深入解讀,可以為新型農村文化空間的挖掘、豐富,培養群眾文化自覺、文化自信和人文關懷有一定的意義。

Folk utensils,which are domesticated or are familiar with by society and personal cognition,usually contain rich collective memory,and are the externalization of their cultural environment and cultural identity.The masks of "Tiao-ling-tou" performance at Dalu village in southern Guangxi are often taken for common knowledge by the local people.In fact,a cultural image of the Han people’s folk beliefs can be restored through the analysis and tracing of the gods symbolized by the masks.This paper adopts the methods of historical anthropology to analyze the time and other factors of the village history and architecture.The paper finds the reality that behind the surface of Tiao-ling-tou performance there are channels and ways of interaction between local elites represented by the Lao family and ideal cultural mode under the grand narrative of relations between the local government and the imperial court,the frontier and the Central Plains.The in-depth interpretation of such internal cultural events is of great significance for excavating and enriching new rural cultural space,as well as cultivating the cultural consciousness,confidence and humanistic care of the masses.