波斯萨珊式鸟雀图像在丝路沿线的传播与发展

The Spread and Development of Persian Sassanian Birds’ Image along the Silk Road

波斯萨珊式鸟雀图像,即圈带内立鸟(大多口衔、颈系飘带或珠串等)造型,为萨珊王朝代表性文化因素。中古时期,这种鸟雀图像沿着丝绸之路向东传播过程中,其图像的载体、构图、动态乃至文化内涵,在各个地域均发生了相应变化。在中亚与西域主要表现为联珠圈带内鸟雀口衔系带式珠串,青海吐谷浑墓地出土织锦主要表现为花瓣团窠内鸟雀口衔珠串并颈系飘带,在河西走廊与中原北方,一种表现为独立构图的圈带内立鸟,另一种为融在周围环境中的无圈带鸟雀。本文尽可能地在全面收集资料的前提下,采用考古类型学与美术史图像学方法梳理、分析,以期厘清萨珊式鸟雀图像的完整发展脉络。

The Persian Sassanian birds’image refers to the birds with streamers or beads in their mouths or on their necks on the astragals,which is the representative element of the Sassanid Empire culture.In the medieval times,its carrier,composition,bird’s gesture and even the cultural connotation of this image shifted in all regions over the course of its spread eastward along the Silk Road.In Central Asia and the Western Region,the main form was the birds with beads in their mouths on the astragal composed of linked-pearl while on the brocades unearthed in the graves during the Tuyuhun period,in Qinghai the primary form was the birds both with beads in their mouths and the streamers on their necks on the astragal within in the petals of those brocades.In the Hexi Corridor and the Northern Central Plains,one type was the bird image with the separate composition on the astragal and the other was the bird not on the astragal but integrating with the surrounding environment.In this paper,with the most possible comprehensive collection of information as the premise,approaches of archaeology,aesthetics and the iconology in painting history are adopted to sort out and analyze these materials in hopes to elaborate the complete development process of Sassanian birds’image development context.