本文選題：阿斯塔那 + 唐墓　； 參考：《中國國家博物館館刊》2017年04期

【摘要】：前賢關(guān)于新疆吐魯番阿斯塔那336號唐墓"黑人"俑的研究主要圍繞俑的服飾、族屬和身份展開,并未涉及俑的表現(xiàn)程式及其具有的含義可能存在變化等問題。本文嘗試在歸納整理唐墓出土的"黑人"圖像(俑和壁畫)的基礎(chǔ)上,從圖像出發(fā),通過對"黑人"俑的分型分式,探討俑的淵源和演變。提出"黑人"圖像可以上溯至南朝時期,主要出現(xiàn)在北朝至唐玄宗時期,唐代"黑人"俑的表現(xiàn)程式存在著不斷被復(fù)制和改造的過程。圖像中的"黑人"表現(xiàn)的只是深膚色者;細螺旋狀發(fā)表現(xiàn)的可能只是體質(zhì)人類學(xué)上的"波發(fā)",并不代表非洲黑人的"卷發(fā)";大眼與突出的眼白也用于描繪胡人。據(jù)此推測,阿斯塔那336唐墓和西安裴氏小娘子墓出土的"黑人"俑表現(xiàn)的很可能不是非洲黑人,而是南亞或南海諸島的居民。
[Abstract]:The former Xian's research on the "black" figurines of Astana 336 Tang Tomb in Turpan, Xinjiang mainly revolved around the costumes, clan and identity of the figurines, and did not involve the possible changes in the performance patterns and the meanings of the figurines. On the basis of summing up the black images (figurines and murals) unearthed from the tombs of the Tang Dynasty, this paper attempts to discuss the origin and evolution of the figurines through the classification of the figurines. It is pointed out that the "black" images can be traced back to the Southern Dynasty, mainly in the Northern Dynasty to the Tang Xuanzong period, and the performance of the "Black" figurines in the Tang Dynasty has been constantly reproduced and modified. The "black" in the image shows only the dark-skinned person; the fine spiral hair may only represent the "curly hair" of the physical anthropology and does not represent the "curly hair" of the African blacks; the large eyes and prominent eye whites are also used to describe the Hu people. Based on this, it is speculated that the "black" figures unearthed from Astana 336Tang Tomb and Xi'an Pei's Little Lady Tomb may not be African blacks, but residents of South Asia or South China Sea islands.
【作者單位】： 南京大學(xué)歷史系;
【分類號】：K878.8

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