希腊瑞鸟在东方——敦煌及克孜尔石窟壁画含绶鸟图案源流新探  

The Auspicious Bird of Greece in the East——A New Observation on the Origin of the Beribboned Bird Motif in Dunhuang and Kizil Cave Murals

作　　者：李思飞 LI Sifei(School of History and Culture,Shaanxi Normal University,Xi'an 710119,Shaanxi)

机构地区：[1]陕西师范大学历史文化学院,陕西西安710119

出　　处：《敦煌研究》2023年第1期14-26,共13页Dunhuang Research

基　　金：国家社科基金冷门绝学项目“敦煌壁画外来图像文明属性研究”(20VJXT014)。

摘　　要：含绶鸟是一种广泛流行于丝绸之路的装饰图案,以往研究均认为其来自萨珊波斯。对敦煌及克孜尔石窟壁画含绶鸟渊源再作追索,认为含绶鸟形象应源自古希腊,最初被赋予王权和胜利的寓意,后随东方希腊化传入波斯和中亚,其在中国的流播与粟特人有关。在传播过程中,含绶鸟图像趋于程式化,其内涵演变为至福、乐土、吉祥等人类美好愿景的象征。出现在希腊、波斯、中亚、中国的塔里木盆地乃至敦煌及中原视觉艺术中的含绶鸟,成为古代东西方不同语境下共通的文化符号。The motif of a bird bedecked with ribbons and a necklace in its beak is a widespread decorative motif along the Silk Road. Previous research believed that this motif was a creation of Sasanian Persia. This paper presents a new theory on the possible origin of this motif and concludes that the image of birds decorated with ribbons likely originated from Greek art. The combination of a bird with ribbons or a necklace first alluded to kingship and victory and was introduced into Persia and Central Asia with the Hellenization of the East. Its eventual transmission into China was most likely related to the exploits of the Sogdians. During the process of dissemination, the style of the motif underwent a gradual transformation and began to represent the eternal pursuit of paradise and auspiciousness, as well as other universal yearnings of humankind. The beribboned bird motif,which appears in various artistic mediums throughout ancient Greece, Persia, Central Asia, the Tarim Basin, Dunhuang, and even the Central Plains of China, has become a universal symbol present in the art and culture of both the West and the East.

关 键 词：含绶鸟 莫高窟 克孜尔石窟 古希腊 粟特人 

分 类 号：K879.21[历史地理—考古学及博物馆学]