这“海”的发音和概念，到底是汉人借越人的，还是越人借汉人的？太久远了，真的很难搞清。难道，都是借自东夷人的？
另外，沼泽地是"aans"，这是本意。引申意为坐龙庭“saanghaans"，说皇帝登龙庭，地动山摇，大概指的是天庭吧，
依维
家乡话Ga——腿
den——脚
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和柳州地方壮语相同.
爱僚
而北部僚人迁到云贵高原后，基本与汉人隔绝，有接触也是小规模的零星的，大规模的接触要到明朝调北征南之后，所以北僚的汉语借词发音都是西南官话。
楼上的有关海的语词证明了北僚在古代是与海有接触的。证明北僚是西江流域的越人的后裔，也可以说布依 布越等支系是越人的支系后裔。
猜想而已，不是专业读书人，难以作到严密论证。
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你的论证已经是很精彩了.
壯侗語系應該乃向山區發展的越人的一支耶，故跟南島人有部份共同風俗與及詞彙接近並不奇怪耶。
銅鼓文化也是來自交趾的東山文化的耶。
这“海”的发音和概念，到底是汉人借越人的，还是越人借汉人的？太久远了，真的很难搞清。难道，都是借自东夷人的？
越人分化出來的壯侗語系，已經喪失海洋民族的特徵耶，個中歷史原因就不清楚耶。
秦征嶺南時期的越人似乎已經不是海洋民族耶，秦派出吳越水兵沿水路進攻，以越制越耶。
隋唐時期俚僚渡海到海南已經很大規模的耶，把南島語系的黎人先民壯侗化耶。
合浦，即廣西沿海包括欽廉地區的俚僚也於宋朝時期形成粵人耶，壯侗系變成內陸民族耶。
今泰人也不是海洋民族耶，不過南部沿海有馬來系的莫肯人(Moken)，又稱”海上吉普賽人”，不過正被泰人日漸同化耶。
老撾的老聽族之中，也有南島語的，不過因為是內陸地方，當然也不是海洋民族耶。
銅鼓文化也是來自交趾的東山文化的耶。
强烈期待北姑出示证据。
强烈期待北姑出示证据。
http://www.viettouch.com/pre-hist/dongson_drums.html
Many bronze drums of the Dong Son period have been reported in South and Southwest China, Burma, Thailand, Laos and Indonesia. In Viet Nam, approximately 140 drums were discovered in many locations throughout Viet Nam from the high land region of the north to the plains of the south and as far as to the Phu Quoc island.
Scholars have traditionally traced its bronze-casting technology to northern China. This theory was based on the assumption that bronze casting in eastern Asia originated in northern China; however, this idea has been discredited by archaeological discoveries in north-eastern Thailand in the 1970's. In the words of one scholar, "bronze casting began in Southeast Asia and was later borrowed by the Chinese, not vice versa as the Chinese scholars have always claimed". Such interpretation is supported by the work of modern Vietnamese archaeologists. They have found that the earliest bronze drums of Dong Son are closely related in basic structural features and in decorative design to the pottery of the Phung Nguyen culture.
It is still uncertain whether the bronze drums were made for religious ceremonies, to rally men for war, or for another secular role. Most of the bronze drums were made in Viet Nam and South China but they were traded to the south and west such as Java and Bali islands, and were valued by people with very different cultures. The Dong Son bronze drums exhibit the advanced techniques and the great skill in the lost-wax casting of large objects, the Co Loa drum would have required the smelting of between 1 and 7 tons of copper ore and the use of up to 10 large castings crucibles at one time.
Most scholars agree the Dong Son drums display an artistic level reaching perfection that few cultures of the time could rival. The Dong Son drums, especially the early ones, were decorated with very rich and well composed images of objects, humans and animals. These images together provided a lively description of the Dong Son society, its people, their daily chores as well as their spiritual life and ceremonial activities.
The decorative images on the tympanum follow a common pattern: at the center is a star encircled by concentric panels of human or animal scenes interspersed with bands of geometric motifs. Birds, deers, buffaloes and hornbills were depicted. Historians have identified the connection between Van Lang and the word vlang (or blang), a large bird in the Austro-Asiatic Viet language. Furthermore, the Hung kings also chose a heron, an aquatic bird, as the totem of Van Lang.
The decorative images on the tympanum follow a common pattern: at the center is a star encircled by concentric panels of human or animal scenes interspersed with bands of geometric motifs. Birds, deers, buffaloes and hornbills were depicted. Historians have identified the connection between Van Lang and the word vlang (or blang), a large bird in the Austro-Asiatic Viet language. Furthermore, the Hung kings also chose a heron, an aquatic bird, as the totem of Van Lang. The Dong Son society was an agricultural one based on the wet rice cultivation. The images on of the Dong Son drums vividly described the activities associated with rice production such as people carrying plows, buffaloes and oxen working the fields and farmers milling rice with hand pestles.
Water rituals were well depicted on the face and body of the drums. Scenes of boat race are believed to represent village festivals to celebrate the supreme role of water in agriculture. Images of Dong Son warriors and their weapons are found carved on many drums. Many types of weapon were represented: cross-bow, javelin, hatchet, spear, dagger and body shield. These images confirm the historical setting of the Dong Son time as its people was in constant fighting for survival against the people from the North.
Social events were well depicted on the drums through images of dancers, musicians and musical instruments. There were bronze drums, bells, castanets, the senhs (rattlers made of bamboo cylinders taped to the arm or leg to make sound when dancing) and the khens (instruments with 4 to 6 long pipes attached to a resonance box). On the Ngoc Lu and Hoang Ha drums, images of Dong Son people sit in line on the floor beating the bronze drums with drumsticks. Dancers in ceremonial garments processing in a counter clockwise direction, each dancer holding an instrument or a weapon with one hand while the other hand forms some sort of rhythmic gesture.
Minh Bui
References:
Lich Su Viet Nam, Phan Huy Le
The Birth of Viet Nam, Keith Taylor, 1988
The Bronze Drums of Dong Son, Nguyen van Huyen et al.. , 1989
东山系铜鼓在越南发现很多，在广西、泰国、马来西亚、印度尼西亚也广泛存在，从分布中心来看， 也可称为越南系。在拥有复数面纹带的大型铜鼓上，可以清楚地看到这两个系统的特征。在鼓面写实性题材的纹饰分布上， 东山系内侧拥有乐舞纹，外侧拥有翔鹭纹的较多。几何纹在东山系是由细长的三角形组成的锯齿纹和被认为是由此转化而来的栉纹为一般特点。东山系几何纹样种类较多，且按照一般规则排列。
这“海”的发音和概念，到底是汉人借越人的，还是越人借汉人的？太久远了，真的很难搞清。难道，都是借自东夷人的？
那"岛"这个概念有没有相应的僚话呢?如果说一个大湖中央的一块陆地,僚话如何说?| 欢迎光临 僚人家园 (http://bbs.rauz.net.cn/) | Powered by Discuz! X2.5 |