从汉代琥珀珠饰艺术看中西文化的融合

Exploring the Integration of Chinese and Western Cultures from the Art of Amber Beads of Han Dynasty

汉代琥珀珠饰作为多元文化载体,是反映跨区域文化间关联性的重要实物资料。从考古发现材料出发,归纳了汉代琥珀珠饰的时空分布情况。运用历史学考据法、图像学研究法,聚焦于狮形珠、胜形珠、五兵形珠等代表性珠饰类型,分析了汉代琥珀珠饰的艺术母题来源、象征意涵以及文化构成因素,以期深入了解在汉代开通丝绸之路的背景下,中西文化的碰撞情况和融合方式。分析说明,汉代琥珀珠饰艺术与古印度早期佛教艺术相关联,佛教的南传推动了以珠饰为载体的外来视觉文化的传播。在文化构成上,汉代琥珀珠饰以本土的辟邪纳吉文化为基础,并融合了外来服饰文化,融合的程度和形式存在着地域性差异。

As a multicultural carrier, the amber beads of the Han Dynasty are important material data reflecting the cross-regional cultural relevance. Based on archaeological research materials, this paper summarizes the temporal and spatial distribution of amber beads of the Han Dynasty. Using historical textual research methods and iconographic research methods, focusing on the representative types of bead ornaments such as lion-shaped beads, “Sheng”-shaped beads, and weapon shaped beads, this paper analyzes the source of artistic motifs, symbolic meanings and cultural composition of amber beads of Han Dynasty. Therefore, it is expected to gain an in-depth understanding of the collision and integration of Chinese and Western cultures in the context of the opening of the Silk Road of the Han Dynasty.It is pointed out that the art of amber beads of the Han Dynasty is related to the early Buddhist art of ancient India, and the spread of Buddhism to the south promoted the dissemination of foreign visual culture, which using beads as a carrier. In terms of cultural composition, the styles of amber beads of the Han Dynasty were based on the local culture of warding off evil spirits and incorporating auspicious, and integrated foreign costume culture, but in the degree and form of integration are different.