从营盘到犍陀罗——丝路希腊化艺术遗产中的“罗马”因素

From Yingpan to Gandhara:How ‘Roman’ is the Hellenistic Artistic Legacy on the Silk Road

1995年发现的营盘男子,其身上罽袍纹样风格过去常被称为'希腊化的'或'希腊的'。本文认为,就纯粹的视觉术语而言,罽袍衣饰采用的图像学语言确实属于希腊化遗产的一部分,但实际上还需考虑罗马艺术的影响。由于现代学术研究中希腊文化的权威性和优先性,以及单一文化标签导致的局限性,罗马帝国在古典图像传播运动中的独立存在与自主发展常常被低估和忽视。事实上,它不仅在犍陀罗艺术品外观构成的影响因素中占据一席之地,也可以为解读营盘罽袍上的艺术元素提供更为合理的参照角度。

The figural decoration of the tunic of‘Yingpan Man’,excavated in Xinjiang in 1995,is strongly reminiscent of Greek and Roman art,but evidence suggests that the textile was made in the vicinity of the Tarim Basin around the fourth or perhaps fifth century AD.The textile has often been called‘Hellenistic’or‘Greek’but its comparatively late date highlights the problem with such terminology.A similar problem applies to modern discussions of the ancient Buddhist art of Gandhara,which has often been regarded as a legacy of Hellenistic culture in Central Asia because of its remarkable echoes of Graeco-Roman imagery.It is now increasingly recognized that the contemporary influence of the globally connected Roman Empire is at least part of the explanation for the‘Greek’elements in Gandharan art and it is a better point of reference for Yingpan also.Modern cultural labels such as‘Greek’and‘Hellenistic’over-simplify the complex movements of Graeco-Roman imagery as an international visual language inherited,developed,fostered,and spread by Roman rule during the first few centuries AD.A closer look at the details of imagery on the Yingpan tunic raises a number of inconsistencies and incongruities.It would be tempting to explain these as the disintegration of classical models as they are transmitted further from the Graeco-Roman world,but there are reasons to be doubtful about such a picture of linear artistic diffusion,and the imagery should be viewed in the broad context of late antique textile decoration.