“翻飞射鸟兽,花月醉雕鞍”——唐代骑马妇女图像

The Equestrian Lady's Icon in Tang Dynasty

唐墓资料中保存有一种骑马妇女的图像,可以分为俑(陶、三彩)和绘画(壁画)二种。其内容主要为仕女和侍女等上层贵族生活的写照,姑且称其为"骑马妇女图像"。这些图像可与有关文学作品、传世画作以及历史文献相印证,反映出唐代妇女相对的自由空间,以及基于民族文化的交融使妇女骑马在初、盛唐时代成为时尚的史实。并揭示了当时相关的社会背景,即"胡化"的问题。本文的分析显示出,骑马妇女的图像,主要出土自上层贵族妇女的墓葬之中。本文进一步分析了图像、文献资料与社会现实之间的关联,以及妇女骑马时尚在唐代出现的原因,即我们所知的唐代开放交流的局面、"胡化"问题以及女性意识的体现。

In the data d Tang＇ tombs we found a sort of icon on equestrian lady, which can be divided into two forms： one is tomb figure, the other is fresco. This is the actual portraiture about Tang＇ feminine lordliness llfe, so we called it ＂icon on equestrian women＂ for the moment. The sort of imase may be confirmed with Tang＇ literary works, palntings and literature. It could reflect the exoteric boom of Tang, which had brought more freedom for women. Intercommunion of different culture had brought ＂lady riding＂ as a kind of fashionable fad, from which we could reveal the social hackground d the time. From the analyses in this article, the images on equestrian women were meetly come from blue - blooded ladies＇ tombs such as princess＇, It＇s a noteworthy phenomenon. Further mare, this article try to explain the relation betweon jcon, literature and social background of the time. Finally we know the exoteric intercommunion ,＂ hu＇hua＂ and feminine consciousness led the prevail of ＂lady riding＂.