摘要
隋代李静训墓出土的金饰是古代中外艺术交流的重要物质见证。本文从设计学视角出发,结合考古材料与历史文献,对其设计源流进行了跨文化解析。研究表明,该金饰在材质选择上遵循中亚传统,色彩搭配体现了区域特色;在形制工艺方面,其与粟特——巴克特里亚地区的工艺传统最为接近,融合了波斯、草原等多元文化元素。这类金饰的制作流通得益于6~7世纪突厥与粟特人所构建的欧亚贸易网络,并通过隋炀帝经营西域的契机传入中原。李静训金饰不仅反映了隋代贵族社会的审美趣味,更展现了丝绸之路跨文化设计交流的历史图景。
The gold ornaments excavated from the Sui-dynasty tomb of Li Jingxun constitute important material evidence for artistic exchange and the circulation of design traditions along the Silk Road during the late sixth and early seventh centuries.From a design studies perspective,this article reexamines the gold ornaments from Li Jingxun’s tomb,including a segmented gold necklace,gold bracelets,and related luxury objects,through an integrated analysis of materials,structural form,craftsmanship,and visual motifs.Drawing on archaeological evidence and historical sources,the study situates these artifacts within the Central Asian cultural sphere,particularly the Sogdian-Bactrian region,where Iranian,steppe,and local traditions intersected.The analysis shows that the selection of materials,such as lapis lazuli,carnelian,turquoise,pearls,glass,and nicolo,follows long-standing Central Asian and Iranian traditions.Their coordinated color schemes reflect a regional aesthetic preference for chromatic harmony rather than the conspicuous display of individual precious stones.In terms of structure and technique,features including segmented construction,polyhedral gold beads,standardized settings,and a carved nicolo clasp demonstrate the closest affinities with Sogdian–Bactrian craftsmanship.At the same time,motifs such as the stylized deer engraved on the clasp reveal the integration of Sasanian visual vocabulary with animal imagery rooted in steppe cultural traditions.The article further argues that these ornaments were produced and circulated within the Eurasian trade networks established by Turkic and Sogdian communities during the sixth and seventh centuries.Within these networks,not only objects but also design templates and elite cultural practices circulated across regions.The political and diplomatic initiatives of Emperor Yang of Sui,particularly his engagement with the Western Regions,provided the historical context that facilitated the entry of such luxury goods into the Central Plains.Ultimately,the gold ornaments from Li Jingxun’s tomb reflect both the aesthetic preferences of Sui aristocratic society and the broader mechanisms of cross-cultural design exchange along the Silk Road.
作者
郑燕燕
胡琦
Zheng Yanyan;Hu Qi
出处
《艺术设计研究》
北大核心
2026年第1期37-46,137,共11页
Art & Design Research
基金
陕西师范大学中央高校基本科研业务费专项资金项目“古代全球化视野下中外美术交流个案研究”(项目编号:1301032559)的阶段性成果。
关键词
李静训金饰
材质与工艺
结构形制
丝绸之路
跨文化审美
Li Jingxun gold ornaments
Materials and craftsmanship
Structural form
Silk Road
Cross-cultural aesthetics
