公元3-6世纪丝绸之路上搏击功能的视觉表达与搏击术的发展——以萨珊王朝与魏晋南北朝金属器物为中心

The Visual Expression of Fighting Function and the Development of Fighting Techniques on the Silk Road in the 3th-6th Century--Centered around the Metal Artifacts of the Sassanid Dynasty and the Wei,Jin,Southern and Northern Dynasties

文章运用历史文献研究法和逻辑分析法,研究公元3-6世纪丝绸之路上萨珊王朝与中国魏晋南北朝金属器物上搏击功能的视觉表达及搏击术的交流与发展。研究发现:与公元3世纪前写实性的造像手法相比,萨珊王朝搏兽图进行了合理的艺术化处理。中西亚的一人二兽题材随着丝绸之路传到北魏后,与本土文化结合为一人二龙造像题材,成为本土化的视觉再造。公元3-6世纪的东西亚搏击造像共同选择了对暴力的消解,在交流互鉴中,中国武术无论受到怎样的影响,始终保持人文化底色,在儒、释、道的影响下,成为独特的文化存在。

The article adopts historical literature research and logical analysis methods to study the visual expression of the fighting function on metal objects and the exchange and development of fighting techniques between the Sassanid Dynasty and the Chinese Wei,Jin and Southern and Northern Dynasties on the Silk Road from the 3rd to 6th centuries.The research findings:Compared with the realistic sculpting techniques before the 3rd century,the Sassanid hunting images underwent a reasonable artistic treatment.After the theme of one person with two beasts in Central and Western Asia was introduced to the Northern Wei Dynasty of China via the Silk Road,it was combined with the local culture to form the theme of one person with two dragons which became a localized visual reconstruction.The East and West Asian fighting statues in the 3rd to 6th centuries jointly chose to eliminate violence.In the process of communication and mutual learning,Chinese martial arts,no matter how they were affected,always maintained their human characteristics and become a unique culture influenced by Confucianism,Buddhism and Taoism.roposed.