摘要
被誉为”沙漠之舟”的骆驼,在北朝至唐代塑像、壁画中频频出现,通常由胡人牵引,满载货物、用具,它们的形态、组合、驮载的物品等,暗示着当时社会的变迁和人们观念的更新,其图像成为“丝绸之路”的象征符号。“胡人”与“骆驼载货”的组合反映出不同国家和地区的商品的交流、信仰观念的传播、不同的文明的碰撞融合,蕴育出了以“胡汉”相融为特色的唐文化。
Known as the ship of the desert, the camel appears in figurines and murals from the Northern Dynasties to the Tang dynasty, and it is often depicted being led by a Central Asian (Hu) figure and laden down with goodsand merchandise. The latteraspects of the camel’s depiction hint at socialchanges in this period and a change in consciousness, so that these objects of art serve as symbolic signifiers of the Silk Road. The intimate connection between caravan camels and Central Asian figures highlights the material and spiritual interaction between different regions and civilisations that gave rise to the uniquely cosmo- politan (Hu-Han) character of Tang dynasty culture,
出处
《故宫博物院院刊》
北大核心
2004年第6期6-25,共20页
Palace Museum Journal