民丰尼雅出土蓝印花布丰饶角图像分析  

An Analysis of The Cornucopia Pattern on The Indigo Print Unearthed at Niya Site

作　　者：李静杰[1] Li Jingjie

机构地区：[1]清华大学艺术史论系

出　　处：《故宫博物院院刊》2020年第1期56-69,109,共15页Palace Museum Journal

基　　金：2018年度国家社科基金艺术学项目“南欧与西亚文化对南北朝隋唐艺术的影响”（项目批准号为：18BA011）成果之一

摘　　要：本文就民丰尼雅出土蓝印花布的文化属性问题,以丰饶角图像为线索,在梳理古希腊、古罗马与拜占庭以及贵霜王朝同类图像发展脉络的基础上,推断其为来自贵霜的物品。从古希腊罗马到贵霜,尽管丰饶角形态及其持有者的身份有所变化,但象征意涵始终没有多少改变,贵霜以古希腊罗马手持丰饶角女神为蓝本,吸收当地佛教造像因素,便形成蓝印花布女神图像。贵霜物品出现在尼雅遗址,意味着两地有着密切的经济文化往来。This thesis discusses the cultural nature of the indigo print unearthed at Niya site taking the cornucopia pattern as a clue to its origin. The analysis the similar design in ancient Greece, Roma, Byzantium and Kushan comes to the conclusion that it be sourced from Kushan. The cornucopia pattern sticks to its original symbolic meaning all the way in spite of the varied shapes and the changes of its owner’s status. The Kushan’s design takes after the prototype of the ancient Greece’s and Roma’s goddess holding cornucopia and adopts the art elements of the local Buddhist statues. The discovery of such a relic object represents the close tie in culture and economy between the two places in history.

关 键 词：尼雅遗址 丰饶角图像 古希腊和古罗马 犍陀罗文化 

分 类 号：K86[历史地理—考古学及博物馆学]