摘要
到目前为止,关于中国与伊朗文化艺术交流中相互影响的例子,在不同领域都有不少。这些影响可以分为两个重要阶段:在伊斯兰教兴起前,产生于伊朗的摩尼教的传播,使得中国绘画的特殊技法得以流传到安息和萨珊时期的伊朗。在伊斯兰教兴起后,随着经贸往来和伊斯兰教的传播,这种互动影响越来越显著。蒙古人占领伊朗之后。大力弘扬伊朗文化和艺术,宫廷中聚集了大量的艺术家。由于蒙古统治者对中国艺术的兴趣,这一时期的伊朗绘画特别关注中国,书籍装帧艺术的精品层出不穷,蒙古画派出现在伊朗绘画中,《史集》等是这一时期被配上插图的书籍。由于伊利汗国和中国元朝的蒙古统治者之间的特殊关系,有些中国绘画元素在当时的伊朗绘画中得到体现。本文拟通过分析与比较《史集》中的插图,来研究中伊艺术相互影响的不同阶段和因素。
Until now,there have been many examples about Chinese and Iranian mutual influences in the fields of culture and art.These mutual influences can be divided to two important stages:the first one is the pre-Islamic era,which was born of Manichaeism in Iran.Manichaeism combined doctrines of Zoroastrianism,Buddhism,Nestorianism and other religions.Its spread caused Chinese painting techniques to enter into Iran’s Parthian and Sassanid empires.At the Islamic period,with the economic exchanges and spread of Islam,such kind of influence between two countries became more significant.After the Mongol occupation of Iran,they vigorously promoted Iranian culture and art,and a large number of artists gathered in the court.Due to the Mongolian rulers’interest in Chinese art,Iranian paintings in this period paid special attention to China,and the fine art of bookbinding emerged.After the establishment of Rab-e Rashidi in the city of Tabriz,as well as the efforts of artists and enthusiasts of art from different regions,the Mongolian school of painting appeared in Iranian paintings.Jami’al-Tawarikh and other works were all illustrated books.Due to the special relationship between the Ilkhanate rulers and other Mongolian rulers in the Song dynasty,some elements of Chinese painting were reflected in Iranian paintings.This paper studies the different stages and factors of the mutual influence between Chinese and Iranian art by analyzing and comparing the illustrations in the historical collection Jami’al-Tawarikh.
出处
《国际汉学》
CSSCI
2020年第4期100-107,200,共9页
International Sinology
关键词
伊朗
元代
伊利汗王朝
细密画
《史集》
Iran
Yuan dynasty
Ilkhanate
Iranian miniatures
Jami’al-Tawarikh
