蒙古岩画研究的最新成果

 

那•巴图包勒德

高级研究员

蒙古国科学院历史与考古研究所

 

岩画是古人创造的一种独特的文化遗产，在蒙古较为丰富。考古调查已在蒙古发现了600余处岩画地点，并且每年都在增加。本次发言我们将给大家展示一些新的岩画材料。

1.扎尔嘎朗图（Jargalant Adgiin）岩画

这一地点包含从石器时代到铁器时代的各类遗址，其复杂性在蒙古考古调查史上是罕见的。扎尔嘎朗图岩画中人的脸部形象与中国北方地区岩画十分相似。我们在蒙古戈壁及东部地区发现了更多与宗教有关的图像、人的形象以及日月的图像。从这一点可以推断，在石器时代晚期和青铜时代，这个地区有着自己独特的文化。在扎尔嘎朗图，我们发现了带着相同面具的人的形象，这或许可以追溯到石器时代晚期。

2.Rashaan Teeg的符号

距离苏赫巴托尔省（Sukhbaatar）额尔德尼查干（Erdenetsagaan）70公里的Rashaan Teeg遗址，由3个包含古老符号的鼓形岩石组成。目前这些岩石没有任何遮蔽物，并且很难与普通岩石区分开来。Rashaan Teeg的符号源于蒙古人的祖先也就是通常被认为的匈奴，并且是匈奴时代高贵的象征。在蒙古南部地区，我们发现了匈奴皇室的印记，这是一个重要的学术发现。

3.Havtsgait岩画

这个地点发现于Umnugobi aimag, 布尔干省（Bulgan）, Havtsgait am. 在那里我们可以看到蒙古帝国贵族生活的绘画。在独块巨石上发现了贵族、皇后、佣人的形象以及他们的帽子、服饰以及使用的椅子的图像，这些都与蒙古帝国有关，并且与周边国家的岩画、墓葬壁画相近。这是蒙古国第一个与蒙古帝国时代有关的历史遗迹。

每年的实地调查我们都能发现许多岩画遗址，所以如果我们在蒙古采用区域系统调查的方法，我们能够找到更多的考古遗存特别是岩画。蒙古有众多的岩画，而我们的研究还远远不够。岩画的相关信息还在扩充，我们有必要对目前发现的岩画资料进行一番收集与整合。

 

Latest results from the study of petroglyphs in Mongolia

 

Natsag Batbold

Senior researcher

Institute of History and Archaeology, Mongolian Academy of Sciences

 

Petroglyphs constitute a large part of the unique cultural heritage of Mongolia. During survey, 600 locations were found which contain petroglyphs in Mongolia, and the number of sites is increasing every year. This is a report of newly found sites with petroglyphs in Mongolia.

1.Jargalant Adgiin

This site contains relics dating from the stone age to the iron age, and its complexity is seldom encountered in the archaeological record of Mongolia. Human faces represented in the petroglyphs of Jargalant Adgiin are very similar to those found in the petroglyphs of Northern China.

We found depictions with ritual themes, human faces, and representations of the sun and moon in the Gobi and eastern region of Mongolia. From this we can conclude that during the late Stone Age and the Bronze Age these regions had a culture of their own. The human faces represented in Jargalant Adgiin resemble human faces or masks dating back to the late Stone Age.

2.Rashaan Teeg

The site of Rashaan Teeg is located 70km away from Sukhbaatar aimag, Erdenetsagaan sum. The site is composed of three drum-shaped rocks, which contains ancient symbols. As these rocks are not sheltered, they are very difficult to distinguish from normal rocks.

Symbols from Rashaan Teeg resemble motifs attributed to Xiongnu groups, especially clanic symbols such as those found in the southeastern part of Mongolia.

3.Havtsgait am

The site of Havtsgait am is located in Umnugobi aimag, Bulgan suma. The paintings in Havtsgait am evoke the life of the nobility of the Mongol Empire. Nobles, queens, their attendants, hairdress and hats, clothes and chairs are depicted on the monoliths.

While this is the first site that can be directly related to the Mongol Empire in Mongolia itself, similar depictions are found in the rock art, funerary art and painting from neighbouring countries.

Every year, field survey reveals more sites with petroglyphs. It is clear that with systematic regional survey, more archaeological sites could be found, especially petroglyphs.

Among the numerous sites with petroglyphs known in Mongolia, very few are being researched. An effort is needed to gather the available information and continue the work of collecting and recording new evidence.

 

 

 

 

略论新疆地区四千年前的萨满式人物形象——兼论康家石门子岩画的年代

 

韩建业

教授

中国人民大学考古文博系

 

距今4000年前后的青铜时代，在新疆地区的切木尔切克文化、哈密天山北路文化、古墓沟—小河文化等当中，有一种头面装饰奇特的萨满式人物形象。这类形象在大体同时的俄罗斯阿尔泰地区奥库涅夫文化和卡拉库尔文化等当中有着更为丰富的发现，类似形象还见于新疆康家石门子，以及阿尔泰山、天山、贺兰山、阴山等地区岩画。推测这些人物形象不但彼此时代相近、互相存在联系，而且可能具有共同的萨满特征的信仰底层。

 

 

Research on the four thousand year old shaman figures in the Xinjiang area:

The chronology of the rock paintings in Kangjia shimenzi

 

Han Jianye

Professor

Department of Archaeology and Museum Studies, Renmin University of China

 

Around 4000 years ago, the Bronze Age cultures of Qiemuerqieke, Hami Tianshan beilu and Gumugou-xiaohe produced a peculiar type of shamanistic figure in the territory of modern Xinjiang province. This figure can be compared to examples found in greater numbers in the Okunev and Karakol cultures in the Altai region, Russia. Contemporaneous images were also found in Kangjia shimenzi, Xinjiang province, as well as in rock paintings in the Altai, Tianshan, Helan and Yinshan mountains. Presumably these characters are not only close to each other in formal characteristics and estimated time period, they may relate to comparable shamanistic beliefs.

 

 

 

 

锡林郭勒岩画的类型与分布

 

王晓琨1  副教授

柏嘎力2  馆员

（1.中国人民大学考古文博系  2. 锡林郭勒盟文物站）

 

岩画是古代文化的重要载体，记录了人们生产、生活、宗教信仰等多方面的信息。岩画是重要的考古遗存，近年来受到考古学界越来越多的重视。2016年7月，广西花山岩画群入选世界文化遗产就是显著的例子。锡林郭勒是我国的三大草场之一，岩画遗存丰富，保存状况良好。2016年秋，中国人民大学考古文博系和锡林郭勒文物管理部门组成联合考古队，对锡林郭勒的岩画遗存进行了首次系统考古调查，发现了22个岩画集中分布地点，1399组岩画，4000余幅个体图像，是近年来中国岩画的重大发现之一。锡林郭勒岩画群，以密点敲凿为主要制作方法，以线条式造型为主要表现手法，动物图案是岩画的主要内容，兼有人物、符号、车辆、文字、打猎等类型，画面布局有序，图案简朴写实，主要分布在锡林郭勒的阿巴嘎熔岩台地及苏尼特层状高平原，为我国北方草原地区的岩画研究增添了新的资料。

 

 

Types and Distribution of the Rock Art in Xilingole

 

Wang Xiaokun 1 (Associate Professor)

Bogali 2 (Research Fellow)

(1. Department of Archaeology and Museum Studies, Renmin University of China

2. Cultural Relic Station of Xilingol League)

 

Rock art is an important carrier of ancient culture, recording the production, life, religious beliefs and other aspects of ancient human beings. Rock art is an important part of archaeological heritage, and it is attracting increasing attention in recent years within the archaeological community. Significantly, in July 2016, a group of rock art in Hushan, Guangxi Province, was selected to become part of the world cultural heritage. Xilingole is one of the three major grassland areas in China. The area features rich and well preserved rock art. In the autumn of 2016, the Archaeology department of Renmin University of China and the local archaeological administration at the Xilingole Cultural Relics Management Office formed a joint archaeological team to carry out a first systematic survey of the rock art in Xilingole. 22 clusters of sites were found, with 1389 groups of depictions and more than 4000 individual images: this is a major discovery in the field of rock art studies in China. This article is a report on our survey, which defined the characteristics of the rock art in Xilingole as using chisels as main production tool, line-carving as main carving type, and animal design as main subject matter, together with particular aspects in layout and the choice of patterns. From a regional perspective, the rock art in Xilingole provides valuable information and allows comparisons with neighboring areas. Our investigation provides new material to the study of central Inner Mongolia.

 

 

 

 

云冈窟顶上部佛教寺院遗址的布局和中西文化交流

 

梁银景

教授 

韩国釜山国立大学

 

中国北魏时期的云冈石窟，其上层地面上建有一座塔，现已经过修复。但是有关这类遗址的研究还不甚全面。本文将介绍这类遗址的详细位置与情况，以及相关考古调查。本文还将对云冈石窟的空间分布和第33号洞窟壁画的起源问题做一深入的分析。最后，在文献记载、石窟寺僧人们的记载以及以往考古记录的基础上，着重探讨云冈石窟所体现出的东西文化交流及其背景。

以往学界认为，第33号洞窟是在北魏时期建立的。该窟的空间分布是首次在中国被发现，因此引起了学术界的关注。该窟被设计成中间带有塔的方形花园。该窟被4座宝塔和一个佛教寺院所环绕。这座窟的复杂布局与同时代以单塔石窟为主体的思远佛寺和永宁寺相比，存在着巨大的其差异。

欲寻找这座石窟空间布局的起源，必须关注犍陀罗时期的Saidu石窟和Takht-i-Bāhī石窟。然而，在犍陀罗地区和中亚地区，修道院和宝塔通常会分开建筑，位于不同的地方。必须指出的是，这是与云冈石窟的不同的地方。本文探讨的主题是，如果位于Babar-khäna遗址B地点的Jandiāl石窟和Pippala石窟中的宝塔位于石窟的中心，并且四周有建筑物围绕，很有可能这里就是云冈石窟布局模式的直接起源。但必须注意的是，这两处遗址的塔与寺院之间还存在时代上的差异，建筑物之间存在着叠压关系。因此，这是与云冈石窟的不同之处。

云冈石窟寺整体空间规划的起源可能与犍陀罗地区地面寺院建筑有关，但是在多层木塔以及夯土技术方面均存在差异。毋庸置疑，来自犍陀罗地区和中国传统的寺庙建筑元素的混合是存在的。这即是东西文化交流的重要方面。

本文认为，负责修造云冈石窟的僧人昙曜，注意到他居住的Tongle寺的空间布局。 此外，犍陀罗和西方的僧人也曾参与了云冈石窟的建设，并对其发展起了决定性的作用。北魏太武帝的影响远传至西方，同样他也接受了各个国家代表团到平城的访问。除此之外，大同也有许多可支持这一事件的考古材料，即西方与北魏平城之间确实存在过主动的交流。考虑到平城受到过西方文化的影响，云冈石窟的空间布局也是这一事件的重要体现。我们还要注意这样一个事实，随着东汉时期佛教的传入，以单塔石窟为主体建筑便形成另一种寺院空间布局的风格。有鉴于此，本文预期在韩国应该也会发现如此布局的寺庙建筑遗址。

 

 

Temple layout and east-west cultural exchange at the Yungang site in the Northern Wei period

 

Yang Eun Gyeng

Professor

Pusan National University

 

The upper layer of the Yungang site (雲岡石窟) features a restored temple and pagoda. Until now, research on these remains is incomplete. In this paper, I look at the location of the site and make a detailed report of my survey. Additionally, I conducted in-depth analysis on the problem of the origin of the layout and paintings of the upper part of Yungang cave no.33. Finally, the paper focuses on tracing the background of the east-west cultural exchange, based on both historical records detailing the names of temples and of the monks that resided here and the archaeological record. It is thought that the Buddhist temple in the upper part of cave no.33 in Yungang was established in the Northern Wei Period. The temple spatial arrangement is the first found in China and has caught the attention of the academic community. The layout is a rectangular groundplan with a garden in between, and a pagoda. This complex is surrounded by four pagodas and a vihara. This complex layout is very different from the single pagoda – single main building temple type of the contemporaneous Siyuanfosi (思遠佛寺) and Yongling temple (永寧寺) sites.One must search for the origin of the spatial arrangement of this temple in the Saidu and Takht-i-Bāhī temples of the Gandhara region. However, in the Gandharan and Central Asian regions the monastery and pagoda are regularly separated and located in independent places. It must be pointed out that this is a difference with the Yungang cave temple. The subject of discussion is if the pagoda at the Babar-khäna site Locality B of the Jandiāl temple and the pagoda of the Pippala temple site are located in the centre of the temple, with all other buildings arranged around the pagoda. This could be the direct origin of the pattern found in Yungang. It must be kept in mind that there are differences at each of these sites between the dates of the pagodas and monasteries, and there is some physical overlapping between buildings. The origins of the entire spatial plan of the Yungang temple can be related to surface temples of the Gandharan region, but differences exist in the many levels of the wooden pagoda, and in the use of rammed-earth construction techniques. Hybrid combinations of temple site elements from Gandharan and Chines traditions are certain. This is an important aspect of east-west cultural interchange.I think that the monk responsible for the excavation construction of the Yungang cave, Tanyao, paid attention to Tongle, the temple in which he resided. Moreover, Gandharan and Western monks were present at the Yungang temple and they played a decisive role in its development.The influence of the Northern Wei Emperor Taiwu (太武帝) spread far westward and he received many delegations to his capital, Pingcheng (平城), from each country. In addition, there is supporting archaeological data from Datong (大同) to show that there were active exchanges between the West and Pincheng, the capital of the Northern Wei. The western-influenced spatial arrangement of the temple at Yungang is part of this wider phenomenon. Buddhism was passed down to the Eastern Han, but the single pagoda-single main building style of monastery spatial arrangement is of another type. It is with this in mind that I end this manuscript, with the expected possibility that such a temple spatial arrangement will be discovered in Korea.

 

 

 

 

 

北朝丈八佛像的考古学研究

 

徐光辉

教授

日本龙谷大学

 

长期以来，在山东、河北等地发现了10余尊北朝时期的大型圆雕石佛立像，其通体高度多在5米以上至7米左右，因大致符合传统的1丈8尺，故俗称丈八佛。其中，仅在山东境内就已经发现了数尊丈八佛像，其雕凿年代集中在北魏至北齐时期，另在临淄地区还见有数米高的石雕坐佛像。

 从分布上来看，目前以临淄、青州地区较多。经初步统计，原临邑县龙泉寺有两尊、临淄西天寺内有1尊，该寺还有1尊来自附近康山寺的丈八佛。近年，在青州市邵庄镇石佛寺遗址又出土了1尊丈八佛的头部。在滨州市博兴县兴国寺佛殿内立有1尊丈八佛像，另在潍坊地区的诸城市博物馆还藏有1尊丈八佛的头部，系出土于当地龙兴寺遗址，高达110厘米，面带微笑，安详庄严，制作极为精致。以上，目前能够确认所在的丈八佛像共计7尊。据介绍，在寿光县丈八佛寺和长青龙兴寺也各有1尊，后者似乎体量更大，故被称为丈九佛。此外，在河北曲阳也有1尊东魏丈八佛圆雕立像，惜近年因火灾而严重受损。

上述石佛作为主尊佛，当初都建立在寺院的大佛殿内，而广泛分布在甘肃、陕西、山西、河南等地的同时期石窟内也有许多大小相若或达到10米左右的大佛背靠窟壁而立。

值得关注的是，这些佛像究竟出于佛教的何种信仰而造。笔者认为这些佛像出于当时的弥勒信仰。由于临邑龙泉寺的佛像资料较为丰富，本文先从这批资料入手，考察上述丈八佛像的类型特点、演变过程、制作年代及其性质等问题。

 

 

The archaeological study of eight-zhang Buddha Statues in the Northern Dynasties

 

Xu Guanghui

Professor

Ryukoku University

 

For a long time, more than ten large stone Buddha statues in the Northern Dynasties were found in Shandong, Hebei and other places. With a length between 5 to 7 meters, roughly in line with the traditional 1.8 zhang (丈), these statues are named eight-zhang Buddha statues. Only in Shandong were a number of eight-zhang Buddha statues carved between the Northern Wei Dynasty and the Northern Qi Dynasty. Several meters high stone seated Buddha statues were also found in Linzi county, Shandong province.

Eight-zhang Buddha statues are widely distributed in Linzi and Qingzhou, Shandong province. Preliminary statistics showed that two such statues are stored in the Longquan temple and one in the Western Heaven temple, both located in Linzi county. The Western Heaven temple also keeps one from the nearby Kangshan Temple. In recent years a head of a eight-zhang Buddha statue was found in the Stone Buddha Temple site in Shaozhuang, Qingzhou. There is an eight-zhang Buddha statue in Xingguo Temple in Boxing, Binzhou. In addition, the head of an eight-zhang Buddha statue unearthed in the Longxing temple in Qingzhou is now preserved in Zhucheng Museum in Weifang. This elaborate, 110cm high head has a serene smile and solemn face. Above seven eight-zhang Buddha statues are thus known. According to reports the eight-zhang Buddha Temple in Shouguang and Longxing Temple in Changqing each keeps one but the latter with a larger body called nine-zhang Buddha statue. Besides, in Quyang, Hebei province, an Eastern Wei period eight-zhang Buddha statue was found, severely damaged by fire.

As the main image of a shrine, the above-mentioned statues were placed in the hall of a Buddhist temple. Conversely, Buddha statues of the same period found in Gansu, Shaanxi, Shanxi, Henan provinces, of similar or larger size, were directly cut into the walls of the cave temples.

The author thinks that the motivation for building these free-standing, large-sized statues is the cult of Maitreya, popular in that period. Since the data of Buddha statues in Longquan temple in Linyi is abundant, this research makes use of these materials to investigate the types, characteristics, evolution process, production age and nature of eight-zhang Buddha statues.

 

 

 

 

哈密两处古绿松石矿初步考察研究

 

李延祥1  谭宇辰1  张登毅1  贾淇1  于建军2

 （1.北京科技大学  2.新疆自治区文物考古研究所）

 

对哈密市黑山岭和天湖东两处古绿松石矿进行了田野考察和绿松石样品的铅锶同位素及微量元素示踪特征检测。

黑山岭遗址位于哈密市南偏西约200公里处，天湖东遗址位于哈密市东南约150公里处，两遗址皆处于干旱荒漠中，难以到达。考察在黑山岭遗址发现有文化层，从中采集到数量较多的陶片及兽骨、炭块等年代测定标本。天湖东遗址仅采集到少量陶片，在古矿洞中获得了兽骨、木炭等年代测定标本，并发现多座垒石墓葬。两处遗址都发现大量采矿石器，并获得充足的绿松石标本。对考察所获兽骨、木炭的年代测定显示两处遗址古代开采年代属同一时期，在距今3000至2500年间。

初步田野考察认定两处古绿松石矿开采规模巨大，其所属考古学文化及更确切的开采年限有待更深入的考察研究。

铅锶同位素及微量元素检测显示这两处遗址所产绿松石与中原辣子崖等地所产绿松石具有明显的差异，为进一步判定哈密绿松石的古代流布奠定了基础。

 

 

 

Preliminary research on two ancient turquoise mine sites in Hami

 

Li Yanxiang1, Tan Yuchen1, Zhang Dengyi1, Jia Qi1, Yu Jianjun2

(1. University of Science and Technology Beijing

2. Cultural Relics and Archaeology Institute of Xinjiang Uygur Autonomous Region)

 

A field survey of two ancient turquoise mine sites was carried in Heishanling and Tianhudong in Hami, and tracing tests were carried onthe collected turquoise samples for Pb-Sr isotopes and microelements.

The Heishanling site is located about 200 kilometers from Hami City in the southwest, while the Tianhudong site is about 150 kilometers southeast of Hami City. Both sites are located in arid deserts and difficult to reach. Investigation on the Heishanling site identified several cultural layers. A large number of datable specimens such as pottery fragments, animal bones and charcoals were gathered. In Tianhudong, only a small amount of pottery fragments, animal bones and charcoals were collected from the ancient mine, and some stone graves were found. A large number of mining stone tools, and plenty of turquoise specimens are available from both sites. Dating test for the animal bones and charcoals indicate that the two sites were used for mining in the same period, between 3000 and 2500 years ago.

Preliminary field investigation has shown that the two ancient turquoise mines were of a large scale, but their archaeological culture and more evidence for dating are still to be investigated.

Pb-Sr isotopes and trace elements test shows that there are significant differences between turquoise from these two sites and turquoises produced in Laziya, Central China. These observations will lead to a better idea of the movement of ancient Hami turquoise.

 

 

 

 

中国新石器时代末期至青铜时代早期的镶嵌绿松石腕饰

 

黄翠梅

教授

台湾台南艺术大学

 

二里头遗址出土的镶绿松石动物纹青铜牌饰是二里头文化最令人注目的内涵之一。2015年，笔者曾经根据二里头墓葬出土的3件镶绿松石动物纹青铜牌饰在墓葬中的出土位置和¬摆放方向，推测它们是墓主人配戴的腕饰，并且依据目前考古出土与传世所见镶嵌动物纹绿松石牌饰的纹饰构图规律和工艺特征，梳理其类型发展，进而推测它们与新石器时代末期（约公元前2000年前后）镶嵌绿松石腕饰的可能关系。

考古材料显示，除了二里头遗址外，青海宗日遗址、晋南地区陶寺文化临汾下靳、襄汾陶寺，以及山东地区龙山文化日照两城镇等地的墓葬中都可以见到墓主手腕佩戴镶嵌绿松石的腕饰，其中又以晋南地区分布最为密集。这些新石器时代末期的腕饰虽不具有金属底托或外框，器面也不见兽形装饰纹样，然而它们使用黑色胶状物将绿松石片平贴于弧状器表的工艺技法，以及辅以他种材质嵌片（例如蚌片或石片）的审美设计，皆与二里头文化镶绿松石牌饰极为类似。

本文即是以前述的研究为基础，全面收集考古出土新石器时代末期镶嵌绿松石腕饰，并以晋南地区陶寺墓地为例，检视该墓地出土的镶嵌绿松石腕饰以及经常与腕饰共出的镶嵌绿松石发笄的分布及使用状况，一方面分析它们在工艺技法和装饰表现上与青铜时代初期镶嵌绿松石饰品之传承与变异，另一方面则透过陶寺文化、山东龙山文化和西北地区出土各类镶嵌饰品之比较，探讨新石器时代末期黄河流域与北方草原文化在人体装饰品上的互动情况与交流轨迹。

 

 

 

A late Neolithic to early Bronze Age wrist ornament inlaid with turquoise

 

Huang Tsuimei

Professor

Tainan National University of The Arts

 

The plaques adorned with animal motifs inlaid with turquoise unearthed from the Erlitou site are the most compelling artefacts of the Erlitou culture. In 2015, I was able to relate three plaques adorned with animal motifs inlaid with turquoise to their location in the tomb, and speculated that they were used as wrist ornaments for the deceased. In addition, by looking at the iconography and craftmanship of available plaques adorned with animal motifs inlaid with turquoise in the archaeological record and classifying them by type into an evolutionary sequence, I found that they might be related to late Neolithic (about 2000 BC) plaques adorned with animal motifs inlaid with turquoise.

Archaeological materials show that, in addition to Erlitou site, wrist ornaments inlaid with turquoise are found on the body of the deceased in tombs from the Zongri site in Qinghai province, the Taosi culture in the Jinnan area and Linfen Xiajin, Xiangfen Taosi, as well as the Longshan culture and Rizhao in Shandong province. The major concentration of wrist ornaments inlaid with turquoise is found in the Jinnan area, southern Shanxi.

Neolithic wrist ornaments do not have metallic backgrounds or frames, and they are not adorned with animal motifs. However, they too used a black glue to adapt the bits of turquoise on to curved surfaces, and added fragments of oher materials such as mother-of-pearl or stone to the turquoise inlay, just like in Erlitou.

This article is based on previous studies and a comprehensive collection of archaeologically unearthed wrist ornaments inlaid with turquoise dating from the end of the Neolithic period. Focusing on wrist ornaments found in the Taosi cemetery in Jinnan, I also looked at hairpins inlaid with turquoise, often found in association with the wrist ornaments. Their distribution and function are discussed here.

A first aim of this paper is to investigate the transmission and evolution of techniques and motifs found on the early Bronze Age wrist ornaments. A second aim is, based on evidence from the Taosi culture in Shanxi, to relate it to comparable material from the Longshan culture in Shandong and the Northwest, to better understand cultural interaction between the Yellow River valley and the Northern grassland in body ornaments of the late Neolithic.

 

 

 

 

吐蕃金银器与欧亚草原文明

 

霍巍

所长\教授

四川大学中国藏学研究所

 

唐以来的文献记载表明，吐蕃帝国具有高度发达的金银器制作水平，曾多次以金银器向唐朝进贡。近年来一批重要的考古发现证实了这个事实。从现有的考古遗物来看，吐蕃系统的金银器一方面充分吸收了来自东方的大唐王朝以及西方的波斯萨珊、粟特金银器的制作工艺与装饰手法，与欧亚草原文明之间有着密切的交往与联系；另一方面，吐蕃金银器当中又保留了大量吐蕃自身的文化因素，融会为蔚为壮观的新的艺术风格，在实际使用过程中，也体现出高原民族的若干特征，从中可以观察到中外文化交流的若干断面。本文重点从以下五个方面展开论述：

1.文献史料中所见吐蕃金银器的历史地位与贡献；

2.考古出土和传世的吐蕃金银器；

3.欧亚草原文明对吐蕃金银器的影响；

4.吐蕃系统金银器与波斯、粟特系统金银器；

5.吐蕃金银器的装饰纹饰与制作工艺特点。

 

 

Tubo gold and silverware and its relation to the Eurasian steppe

 

Huo Wei

Dean\Professor

Center for Tibetan Studies, Sichuan University

 

Documents from the Tang dynasty show that the Tubo empire had a highly developed production of gold and silverwares, which were used to pay tribute to the Tang rulers on many occasions. A number of important archaeological discoveries have confirmed this fact in recent years. From the existing archaeological record, we can tell that the gold and silverware produced by the Tubo adopted techniques and motifs from the Tang to the East, as well as from Sassanid Persia and Sogdiana to the West. In addition, the artefacts show close contacts with the Eurasian steppe cultures. Tubo gold and silverware has a cultural identity of its own, as influences were synthetized into a new artistic style. The way these artefacts were used is characteristic of the highland groups who produced them. The study of Tubo gold and silverware is an opportunity to investigate cultural exchanges between China and other groups.

This paper focuses on the following five aspects:

1.the historical role of Tubo gold and silverware as reflected by historical texts.

2.Both archaeologically unearthed Tubo gold and silverware and examples from unknown provenance.

3.The influence of Eurasian steppe cultures on Tubo gold and silverware.

4.The relation between Tubo, Persian and Sogdian gold and silverware.

5.Technological and iconographic aspects of Tubo gold and silverware.