摘要
北朝至隋代,中国北方地区的贴花陶瓷器上出现了一类特殊的人面纹装饰,其图像形式独特,含义尚未明确。文章系统梳理了考古出土资料及相关馆藏文物,对人面纹陶瓷器的产地、年代与器型等问题进行分析,并结合同期佛教艺术与墓葬图像材料,进一步探讨其图像来源、文化内涵与功能属性。此类人面纹最初源自古希腊古罗马神话中的美杜莎、狄奥尼索斯等形象,蕴含辟邪、护佑、吉祥等意义。随着丝绸之路的开通与东西文明的交流,这些原本装饰于古典雕塑、银器与陶器上的图像元素逐渐传入东方,被吸纳进陶瓷器这一具有鲜明中国文化特色的媒介之中,是跨文化、跨媒介传播的典型案例。
During the Northern Dynasties through the Sui period,a distinctive type of human-face motif appeared on appliqué-decorated ceramics produced in northern China.Characterized by its unique iconography,the meaning of this motif remains uncertain.This study systematically examines archaeological finds and related museum collections,analyzing key issues such as production centers,chronological framework,and vessel types associated with this human-face motif.By drawing on comparative material from contemporary Buddhist art and funerary contexts,the paper further explores the origins,symbolic meanings,and functions of the human-face motif.It argues that the imagery likely originated from Greco-Roman mythological figures such as Medusa and Dionysus,and conveyed connotations of apotropaic protection,auspiciousness,and divine guardianship.As the Silk Road facilitated increased cultural exchange between East and West,such motifs—originally found on classical sculptures,silverware,and ceramics—were introduced into the East and creatively adapted to Chinese ceramic traditions.These human-face motifs thus represent a compelling case of cross-cultural and crossmedia transmission.
作者
邱宁斌
Qiu Ningbin(The World Heritage Studies Degree Program,University of Tsukuba,Japan)
出处
《湖北美术学院学报》
2025年第4期73-85,共13页
Hubei Institute of fine Arts Journal
关键词
人面纹
陶瓷器
美杜莎
酒神
跨文化
human-face motif
ceramics
Medusa
Dionysus
cross-cultural exchange
