从何家村到法门寺:金银器工艺的进步与发展

From Hejiacun to Famen Temple: the Development of Gold and Silver Techniques

1970年西安何家村窖藏出土的271件金银器,作为盛唐文化象征和丝路交流的重要载体,在当时具有世界性影响。其中有一部分器物属于唐少府监下属机构之中尚署、铸钱监制作,带有明显的初学痕迹,其錾刻、鎏金及金筐宝钿技术尚不成熟,而且器形简单而偏小。法门寺文思院则在这些方面有突出的进步,既注重轮廓造型,又将金属本身光泽与鎏金完美结合,加上凸显中心的纹饰鎏金,形成非常华美富贵庄严的整体效果,且在纹饰题材和造型上完全中国化。但法门寺器物轻巧、单薄,与当时国力下降、唐政府财政捉肘见襟有关。与何家村金银器相比,法门寺遗物作为一次盛大佛事活动的留存物,工艺极为高超,但文化张力有限,似乎更多地在佛教界及艺术界有着更大影响。

The 271 gold and silver objects excavated in 1970 from the Hejiacun hoard in Xi＇an were worldwide influential as symbols of the high Tang and the Silk Road trade. Among them, some in simple shape and small size were produced by the Directorates of Coinage under the Central Service Office of the Directorate for Imperial Manufactories, showing clear traces of imitation and immature incising, gilding and gem inlaying techniques. In comparison, Wensi Workshop of the Famen Temple was more advanced in shaping, motif gilding and the perfection of overall effect. The decorations and shapes were completely localized. However, the lightness of Famen objects was the result of declining political and financial power of the Tang. As the surviving objects from a grand Buddhist activity, the Famen objects are more influential in Buddhism and art and less culturally influential than Hejiacun findings.