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古代壮族氏族酋长,由人民公仆变作人民主宰.正如上述尝以铜鼓为表征,《南史·欧阳頠传》载:‘钦南征夷獠,擒陈文彻,所获不可胜计。献大铜鼓,累代所无,頠预其功,还为直阁将军。’可见古代封建王朝对少数民族,掳得铜鼓后,表示胜利。少数民族失去铜鼓.表明失去统治权。广西其他少数民族没有这种风俗,足以证明铜鼓是壮族铸造。”[2]
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到宋代,广西的铜鼓从地下出土的机会更多,已引起和文人学士的重视。曾在桂林做过广南西路经略安抚使兼静江知府的范成大,在《桂海虞衡志》中说到:“铜鼓,古蛮人所用,南边土中时有掘得者。”比范成大稍晚,做过桂州通判的周去非,在《岭外代答》中更直截了当地说:“广西土中铜鼓耕者屡得之。”对广西铜鼓的形制、大小、纹饰,作了详细的记录:其制正圆,而平其面,曲其腰,状若烘篮,又类宣座。面有五蟾,分踞其上。蟾皆累蹲,一大一小相负也。周围款识,其圆纹为古钱,其方纹如织簟,或为人形,或如琰壁,或尖如浮图,如玉林,或斜如豕牙,如鹿耳,各以其环成章,合其众纹,大类细画圆阵之形,工巧微密,可以玩好。铜鼓大者阔七尺,小者三尺。所在神祠佛寺皆有之,州县用以为更点。……亦有小铜鼓,方二尺许者,极可爱玩,类为士大夫搜求无遗矣。这种铜鼓造型美观,纹饰精细,蟾的形象富有变化,生动传神,能给人产生美感,“可以玩好”,引起士大夫的广泛搜求。可以说,在人们的心目中铜鼓是一种有着极高艺术价值的艺术品。