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大家都知道粟特商旅在欧亚丝路贸易中的角色有多重要。历史文献和考古发掘,一起向我们揭示了粟特胡人在中亚五国、新疆、敦煌的全景式文化和生活场景。粟特文明的黄金时代在五到八世纪(550—755),恰逢中国的北朝、隋唐盛世,结束于阿拉伯帝国入侵(642—722)。在最近的七十年里(1 946—201 6),考古学家们在中亚热土上对几乎所有宫殿、要塞、佛窟、神庙、城池进行了发掘。考古证据表明,粟特壁画有三个艺术中心:位于乌兹别克斯坦境内的撒马尔罕古城、布哈拉古城(见封二图1)、和位于塔吉克斯坦境内的片治肯特古城。对于上述三大古城壁画的研究,开启了解读粟特文明的钥匙。本文以片治肯特古城的壁画为案例,分析了中亚壁画题材中的波斯英雄史诗、希腊伊索寓言、印度神话。以图证史,表明在伊斯兰化之前的中亚粟特,一直处在与欧亚丝路的文化互动中。
Everyone knows how important the role of Sogdian trade in Eurasia trade is. Historical documents and archaeological excavations have revealed to us the panoramic cultural and life scenes of the Sogdians in five Central Asian countries, Xinjiang and Dunhuang. The golden age of Sogdian civilization was between the fifth and eighth centuries (550-755), coinciding with the Northern Dynasties and the Sui and Tang Dynasties in China, ending the invasion of the Arab Empire (642-722). In the last seventy years (1946-201 6), archaeologists unearthed almost all the palaces, fortresses, Buddhist temples, temples and cities in the hot land of Central Asia. Archaeological evidence shows that the Sogdian mural has three art centers: the ancient city of Samarkand, the ancient city of Bukhara (see Figure II) in Uzbekistan and the ancient ruins of the city of Kent in Tajikistan. For the study of the three ancient city murals, opened the key to understanding Sogdian civilization. In this paper, I will take the mural painting of the ancient city of Kent as an example to analyze the Persian Heroic Epics, the Greek Aesop’s Fables and the Indian mythology in the theme of the mural paintings in Central Asia. The history of the figure shows that the Sogdian Central Asia prior to Islamization has always been in the cultural interaction with Eurasia.