摘要
川渝地区汉晋墓葬中出现的'抚耳俑',根据其所处伎乐场景配置,结合文献资料分析,当是从事歌唱表演的歌讴,可称之为歌讴俑。此类俑与抚琴俑、舞俑等构成的伎乐俑组合,表达了至少两个方面的含义:一是通过模拟象生场景来慰藉墓主,使其安居墓中;二是通过模拟祭祀活动来愉悦神灵,辅助墓主飞升仙界,庇佑后世子孙。
Based on analysis of their placement in musical scenes and related textual accounts, we suggest that the terracotta figurines touching their ear unearthed from Han and Jin Dynasties tombs in Sichuan and Chongqing might be singers in the middle of performance and could thus be called singer figurines. Their co-occurrence with zither players, dancers,and other musicians suggests at least two things: firstly, they are meant to assure that the tomb would be a place of comfort for its occupant by imitating scenes of daily life, allowing him to settle in well;secondly, they delict gods through sacrificial activities, thus helping the tomb owner to ascend to the heavens and bless future generations.
作者
邱艳
Qiu Yan;Chengdu Institute of Archaeology
出处
《南方民族考古》
2017年第2期225-252,共28页
Southern Ethnology and Archaeology
关键词
汉晋时期
川渝地区
抚耳俑
歌讴俑
Han and Jin Dynasties
Sichuan and Chongqing Area
Terracotta Figurines Touching their Ear
Singer Figurines