People's understanding of the Miao people in Guizhou is mostly in the stage of hearsay, especially about the role of Miao women in marriage, people generally have only one stereotype of "Miao women are unrestrained", and the origin of this impression is also related to the "moon jumping" custom in the Miao custom, which is described as extremely "fragrant" in the Literature of the Qing Dynasty. Through the combing of the literature, it can be summarized and particularly prominent in the following aspects:
1. Revealing clothing
Qing Dynasty readers have a more specific description of the appearance of women participating in the moon jump, and have the characteristics of portraying women's revealing clothing, and even further render the naked body of women. For example, Yang Wenying's "Qianyang Miscellaneous Songs" praises the beauty of women with "daughter of the Zhongjia family and Xiu", and Yu Shangsi also says in the "Words of The Bamboo Branches of the Barbarian Family" that "the women of the Qingzhong family are white and intelligent". And Pei Qingqiao's Miao Poem describes it more specifically:
Strange fireworks also caused sorrow, and Cen Yunwei rained and silk.
It was like peeking into the adulterous room from the Demon Mother, but asked Ye Lou in the Yu family.
The brocade belt is wrapped around the chest, and the silver ring is double-hooked.
The ghost rod in the shadow of the hehe, won the betel nut a smile throw.
Poetry Note Cloud: Miao women's brocade shorts, tied with double straps on the back chest, embroidered on one side, decorated with money. As you can see, the double band is obliquely cross-shaped, interlaced between the breasts, with a small brocade on one side, and the negative is crossed as a button. Earrings are as large as hooks, drooping to the shoulders, and the rich are mostly clothed with beads, tired as jewels. In the spring, the trees stand in the wild, and the men and women dance for fun.
The Miao women in "Hundred Miao Tu" are dressed
In this way, the Miao women's clothing has been carefully outlined, especially the double belt between the short shirt and the double breast, which points out the characteristics of the Miao women's unrestrained clothing. He went on to write: "The barrel skirt is low and the snow is exposed, and the mane is piled up in a half-kasa cloud. The scene of the short skirt revealing its snow-white thighs is clear. In addition, Miao women often expose their bodies in the valley streams. For example, Pei Qingqiao wrote in the Miao Poems that Miao women are also rao, and every June 6, on the sixth day of June, the group of women bathe naked in the stream, and people may look at it thinly. He also used to "see groups of three or five Miao girls in the Jiaoxi River, and bathe on the rapids of the clear stream."
Obviously, this poetic imagination and the depiction of the appearance of the novel tone have a more obvious hunting color. But for outside readers, this not only arouses the interest of reading, but also the beginning of their knowledge about miao women. More importantly, this kind of "outside the clothes" dress is itself a typical representative that does not conform to the "etiquette", but should be an important object of the etiquette system.
2. The appearance of the location and behavior of "wild union"
In the literature, people emphasized sexual behavior before marriage was concluded, and gradually added the writing of norito places. The so-called "marriage begins with a union" and "Ma Lang Fang" have become the most common descriptions. For example, a poem about Hei Miao in Shu Wei's "Qianzhu Zhizi" says: "Ma Lang has a good marriage at the bottom of the house, and the good period is a few years." Insert all over the green mountains and yellow bamboo, and moo back the ghost head money. Another example is Tian Rong's "Qianmiao Bamboo Branch Words" Record Yun: "Yangdong Luohan Miao, wild water building, the moon and the sunset, the female Climbing, called 'sitting on the moon', the man is taken to be private." Another example is Yu Shangsi's "Words of Wild Bamboo Branches" that men and women "stay together at night, and parents know but can't help it." In addition, it is also indicated that women began to build bamboo buildings at the age of thirteen or fourteen. For example, one of the poems in Shu Wei's "Two Songs of The Seedlings":
The cardamom tip is like a hook, and the mountain flowers bloom near the girl's building.
I don't know who took the green reed pipe, and the spring love scattered overnight.
Words note yun: "The woman is nearly thirteen or fourteen years old, that is, the bamboo building is in the wild, and the song is combined, which is more strange than the malang room of the black seedling."
Marang Room
This all shows that there is a place similar to the "Water Building" and the "MaLang Room", which is a place for men and women to meet privately. In fact, in the wild grass, in the wilderness, the wild union is more noticed by people. For example, Chen Hao's "Hundred Miao Map" records "Xixi Miao": "Unmarried men carry sheng, women carry food, get together and joke, and those who rejoice drink in the wilderness, sing and dance, and run with it." Another example is the Qing dynasty Pei Qingqiao's more straightforward writing in Miao Poems:
Meng Chunhe man and woman in the wild to choose a mate, known as the moon jump, that is, malang room, hemp railing and synthesis of a meeting, this Miao custom is also a big gift. During the moon-jumping period, the male blows the reed in front, and the female leads from it, circling the field three turns. Carrying each other into the bushes, the first is the wild union, known as Layang. However, there must be a wife and then you must marry, otherwise you will return to the pasture after the age.
Obviously, this custom of jumping the moon is a way for men and women to choose a mate in the spring. However, in this kind of "Miao custom ceremony", men and women can carry out the "name of Layang" wild union behavior, that is, "carry into the bushes, first for the wild union", and wait until after pregnancy before they can marry. On the contrary, in the next year, you can re-participate in the moon jumping activity and carry out this wild behavior again. In addition, although the author mentions the "Ma Lang Room", the noo-no This kind of behavior of "Meng Chun will be men and women in the wild, and each night in the valley" undoubtedly improves the fragrance of the moon jumping custom.
The depiction of wild singing and dancing in the "Hundred Miao Tu"
In fact, there are already examples of this kind of "wild union", for example, the record of "Confucius born of the combination of the female wild of the Yan family" has appeared in the "History", "wild union" has been written, obviously its "unseen etiquette" characteristics, it is Zhu Xi's so-called "Jiali is not wild union, wild union is also barnyard". And this kind of behavior, of course, is not unique to the Miao society in Guizhou, searching for ancient books, everywhere, but the general cases of wild union are mostly individual behaviors, and the reason why the wild union after the moon jump in the Miao society is talked about by people is because it has become a group behavior of marriage and union.
Third, private meetings with men
After a woman jumps the moon, even if she is married, she can freely meet with other men before having children. For example, Shu Wei's "Qianmiao Bamboo Technique Words" chanted:
Asakusa spring opened the moon field and hired money to beg for the purple school hammer first.
In the next year, I will take over my sister and hug the new son to recognize the old man.
Word note: Every year Meng Chun, will be men and women in Hirano, yue jump moon land, yue moon field. Each sang, and the one who agreed was given a hammer, so they were husband and wife. And for three days, the woman shall not ask him to be with him, and shall not return unless he has a son.
It is very clear here that after three days of the moon jumping and becoming a couple together, the woman can leave, "don't beg him to be with the man", and will not come back until after giving birth. As for how many men she has met privately, there is no account here. In this regard, Pei Qingqiao has a detailed record in the Miao Poems, and two relevant materials are quoted as follows:
June 6 is the period for changing the belt, the group of women bathing naked in the stream, people or thin and watching, gifted with nepotism, it is particularly happy. Those who sneer may not be allowed to return, and their parents are ashamed, and the wild elders are proud of their many. If you are a private man, you will be covered with a red scarf on the bun, and the more you fold it, the higher you are, the more self-satisfied you are. There are tens of layers, and the companions are called envious clouds.
The woman is in the room, steaming the bypass, and running away without scruples, that is, after jumping the moon, Xu has a family, and will also marry several people, known as the wild old man. Hiring a husband is just a good fit. There is a son who first informed the bride that The Virgin of Yanshi Wujie Flower House was worshipped. Our Lady, Nüwa also. The men and women of the kin clan sang and drank for two days, and their names were called stars. Since he was guilty, the husband was able to engage in military work.
The private meeting in "Hundred Miao Map" will jump the moon
These two records show that in the Miao group, before women have children, even if they "have a family, they will marry several people", and even the more the better, they are proud of it. However, once they have proved their reproductive ability, and after they have fallen into the husband's house, the right of this free private meeting of men will be lost, because "if they are guilty, the husband will be able to do it at the sword", that is, the husband can forcibly interfere with her private rights.
Fourth, the price of beauty is higher
After the marriage after the moon jump, the financial gift is filled with cattle and horses, and there is the characteristic of the financial gift of appearance, that is, the beautiful person, the dowry is higher. Jiajing's "Guizhou Tongzhi" says that the Miao people's marriage and employment "take horses and cattle as a financial gift", and the financial gift measured by beauty as the standard, the Mingren Tian Rucheng also recorded in the "YanCheng Chronicle", he said that the Miao people "talk about Yan Yan as a loan to the poor and the poor, handing over the years and asking for it, that is, sending all kinds of eldest descendants without loans." In addition, there is even a saying that "the ugly have nothing to do with each other for life". The records of the Qing Dynasty further illustrate the continuation of this phenomenon, and the financial gifts are more explicit than those of the Ming Dynasty, that is, there are specific quantities. For example, Zhongjiamiao in Guiyang, Anshun, and other places, the "Imperial Qing Gongtu" records: "When hiring cattle, regard Yan ugly as a number of people, there are as many as thirty or fifty heads." Another example is Pingyue, Duyun, Nanlong and other places, Qianlong's "Guizhou Tongzhi" recorded as "fixed in posture, the capital is as high as thirty or fifty cattle." Some bamboo branch words describe this phenomenon more vividly and vividly, such as the "Wild Bamboo Branch Words" chanting:
Marriage is still reciprocated, regardless of the monthly remuneration of the flower towel.
The color boasted that A sister was good, and hired two or three cows.
The Zhongjia family called the woman a sister, and the love between men and women was hidden, and then the marriage was hired by the color of the woman, and the number of cattle was up to twenty or thirty.
Another example is Kong Zhaoqian's "Moon Jumping Words":
The love silk turned the flower ball, and the east wind flower was full of flowers.
If you ask for a little money, there is a morning glory in the sky.
Word Note Cloud: Zhongjia Miao is happy to collect and weave round balls such as melon throws, which is called flower balls. All the seedlings were hired by cattle, and the beautiful ones were not enough forty or fifty heads.
Here, not only does it explain the characteristics of "all the seedlings are hired by cattle", but also emphasizes that the dowry of "beautiful people" is extremely high, and there are forty or fifty heads, which is obviously beyond the ability of ordinary people to bear. However, the reason why we should also pay special attention to the relationship between female beauty and dowry is mainly to prepare public opinion for the rectification of Miao marriage customs by rendering the fact that the Miao marriage dowry is too high, because after Qianlong, Guizhou, especially in the southeastern region of Qiandong, has risen to rectify the miao marriage customs, and excessive financial gifts have become the focus of rectification.
Beautiful Hmong girl
Through the portrayal of the above characteristics, the characteristics of the moon jump are displayed one by one. Although some scholars have pointed out that in the travel writing of the Ming and Qing literati, there was a phenomenon of "alienation" in the description of foreign races, that is, to depict them as idyllic and primitive as possible. Similarly, the misalignment of the custom Zhang Guan Li Dai has long been well known. However, for the Confucian literati, the social life of ethnic minorities violating "etiquette" is the focus of their eyes, so after the rendering of the Qing Dynasty literati, the impression of "Miao women being unrestrained" gradually spread.
The life of disobedience in "Hundred Miao Tu"
When I was an undergraduate student at a university in Southern Guangdong, many Guangdong students knew that I was a Miao from Guizhou, so I came to see the Western scenery and inquired about Miao women's clothing, marriage, cheating and other things, and I replied that you have watched more novels and TELEVISION. This experience of being questioned is also one of the reasons why I am engaged in the study of the history of Miao women, and I want to find out what makes the outside world form such a stereotype of Miao women in Guizhou, of course, in the above-mentioned historical writing.
bibliography:
CHEN Ding. Dian Qian Ji You[M]//Siku Quanshu Bibliography Series • History Department (Vol. 255). Jinan:Qilu Book Society,1996.]
Shu. Qianmiao bamboo branch words [M]//Worm Tianzi ed., Dong Naibin et al. The Complete Book of Chinese Fragrances. Beijing:Unity Press,2005.]
Bei Qingqiao. Miao Prostitute Poems [M]//Worm Tianzi ed., Dong Naibin et al. The Complete Book of Chinese Fragrances. Beijing:Unity Press,2005.]
FU Heng. Emperor Qing Gongtu [M]//Jingyin Wenyuange Siku Quanshu (vol. 594). Taipei: Taiwan Commercial Press, 1983.
KONG Zhaoqian. Jinghong Yin room poetry collection [M]// Compilation of Qing Dynasty poetry collections (vol. 514). Shanghai:Shanghai Ancient Books Publishing House,2010.]
YOU Dong. Collected Poems of Xitang • Foreign Bamboo Branches [M]//Continuation of the Siku Quanshu (vol. 1407). Shanghai:Shanghai Ancient Books Publishing House,2002.]
TIAN Rucheng. Chronicles of Yan Yi[M]. Taipei: Taiwan Commercial Press, 1979.
Check the line. Jingyetang Poetry Collection[M]//Compilation of Qing Dynasty Poetry Collections (vol. 178), Shanghai: Shanghai Ancient Books Publishing House, 2010.
TIAN Rong. BishanTang poetry banknote[M]//Gu Jiu, editor-in-chief. Qiannan Series (3rd Series). Guiyang:Guizhou People's Publishing House,2008.]
YANG Wenying. Xingcaoting On Banknotes [M]//Compilation of Collected Poems of the Qing Dynasty (vol. 737). Shanghai:Shanghai Ancient Books Publishing House,2010.]