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只要我们驻足于人烟罕至的莽山野岭,去面对险峻的石崖上那些神秘的古老岩画;或者去置身于被图画和纹样布满了墙壁、天花板、门窗、柱头的傣族佛寺;去体验景颇人沿着高耸的木脑柱上回环纹指示的路线,表情庄重地跳着迂回前进的目脑舞;去聆听哈尼族讲述他们关于几何纹、蕨纹、犬牙纹的故事;去瞻仰佤族“大房子”里妇女不能沾手的象形符号,和赫然高悬于房前屋后,寨头寨尾的牛头骨、牛头纹、牛头符号……不禁对这些被人们奉为神圣、视为珍贵的造型艺术产生厚浓的兴趣。
As long as we stop in the ravaged mountains and mountains to face those steep cliffs of those mysterious ancient rock paintings or to be placed in pictures and patterns covered with walls, ceilings, windows, stigma of the Dai Buddhist temple; to experience Jingpo along the towering celestial column on the ring back to the direction of the route indicated that solemnly jumping roundabout jump head and brain dance; to listen to the Hani people tell them about the geometric pattern, fern pattern, dog tooth pattern; to pay tribute to the Wa “ Big house ”where women can not dip the pictogram, and impressively hung in front of the house, Walled Walled Tortoise skull, Niu Tou pattern, head symbol ... ... can not help but be sacred as people, regarded as a precious shape Art produces a thick interest.