十六国北朝时期骑马乐俑军事考古学观察  

Military Archaeological Observation of Play Equestrian Figurines during the Northern Dynasty in Sixteen States

作　　者：王晨仰 杨雯 WANG Chen-yang;YANG Wen(School of New Media Art,Xi’an Polytechnic University,Xi’an 710048,Shaanxi;Institute of Silk Road Studies,Northwest University,Xi’an 710169,Shaanxi)

机构地区：[1]西安工程大学新媒体艺术学院,陕西西安710048 [2]西北大学丝绸之路研究院,陕西西安710169

出　　处：《延安大学学报（社会科学版）》2024年第5期88-93,共6页Journal of Yan'an University (Social Sciences Edition)

基　　金：教育部人文社会科学研究一般项目“多民族融合视阈下十六国北朝戎装俑考古学研究”(22YJC78002);陕西省教育厅专项科研计划项目“关中地区魏晋北朝陶俑与文化变迁多维比较研究”(22JK0093)。

摘　　要：陶俑是对生人社会所对应人物的真实反映,为研究古代社会提供了重要的实物资料。骑马乐俑作为乐俑的一类,最早出现于十六国时期,是对两汉军乐俑的继承和发展,这一时期因骑兵大量出现,骑乐成为军乐队的重要组成部分。北魏时期由于孝文帝推行汉化政策,骑马乐俑几近消失,基本被立俑形象的军乐俑替代。东魏北齐在统治者强烈要求恢复鲜卑旧俗的情况下,骑马乐俑随葬性质与十六国接近,属军乐俑性质。西魏北周时期,在鲜卑文化与汉文化融合发展的时代背景下,骑马乐俑虽仍有军乐队作用,但更多为仪仗乐队功能。Terracotta figurines serve as a true reflection of the corresponding figures in human society,providing significant physical materials for the study of ancient societies.The play equestrian figurines,as a category of musical figurines,first appeared during the Sixteen Kingdoms period.They represent a further development of the military music figurines from the Han Dynasty,with cavalry becoming a significant part of the military,including in military bands.During the Northern Wei Dynasty,with Emperor Xiaowen’s policy of Sinicization,play equestrian figurines nearly vanished,almost replaced by standing musician figurines in military bands.In the Eastern Wei and Northern Qi Dynasties,under the rulers’strong demands to restore the Xianbei traditions,the burial nature of play equestrian figurines was close to that of the Sixteen Kingdoms,functioning as part of military bands.In the Western Wei and Northern Zhou Dynasties,amidst the unique cultural characteristics of the mix between Xianbei and Han cultures,play equestrian figurines still played a role in military bands but were more often part of ceremonial bands.

关 键 词：十六国北朝 骑马乐俑 军乐俑 军戎服饰 

分 类 号：K871.42[历史地理—考古学及博物馆学]