一葉一菩提?聞一以知十

屠悅

文物篇

絲綢之路雖以絲綢作為名字，但絲路上交流的卻不只是絲綢和絲織技藝，它更是東西方文化交流的主要通道。絲綢之路周舉行的文物海報接力，利用網(wǎng)絡(luò)傳播將這些記憶串聯(lián)成線，讓我們在欣賞精美海報的同時，也能更加了解絲綢之路，更深地領(lǐng)悟絲綢之路所傳達(dá)的精神。

一場有趣的接力活動，從2020年5月13日起在微博上火熱地開展起來。這就是“2020絲綢之路周”中“一花一世界：絲綢之路上的互學(xué)互鑒”展上的絲路文物海報接力活動。

作為“絲綢之路周”的活動之一，中國絲綢博物館聯(lián)動敦煌研究院、甘肅省博物館、新疆維吾爾自治區(qū)博物館、陜西歷史博物館、寧夏固原博物館、云南省博物館等60余家絲綢之路沿線文博機(jī)構(gòu)，以文物海報的形式呈現(xiàn)各自珍藏的文物，為觀眾展示絲綢之路上的歷史文化。

本文選取了其中一些文物海報，讓我們一起了解、欣賞這些鎮(zhèn)館的“絲綢寶寶”。

翼馬紋錦·唐

翼馬紋錦是中國絲綢博物館的館藏文物。這件殘片為斜紋緯錦，目前殘留有一個半的聯(lián)珠團(tuán)窠圖案。其中外圈的聯(lián)珠圖案底色由深藍(lán)、紅兩色構(gòu)成，較為別致。團(tuán)窠外裝飾有十字賓花圖案，團(tuán)窠之中是一翼馬紋樣，其造型具有典型的薩珊波斯風(fēng)格，頭戴六瓣小花狀冠飾，頸系聯(lián)珠紋帶，背生雙翼，翼間同樣裝飾有聯(lián)珠紋，四足及尾部亦系綢帶作裝飾。

翼馬的原型是古希臘神話中海神波塞冬與美杜莎之子珀伽索斯（Pegasus），據(jù)說其馬蹄踩過的地方便有泉水涌出，詩人飲用后可獲靈感。

類似的翼馬紋錦在埃及的安底諾伊、中國吐魯番的阿拉溝等地也有出土。這件緯錦織物在中國的發(fā)現(xiàn)，是波斯藝術(shù)與中國絲綢文化交流的極佳實(shí)例。

東羅馬鎏金銀盤

絲綢之路全長7000公里，中國境內(nèi)長4000公里，甘肅境內(nèi)長達(dá)近2000公里。自漢代至明代這1800年里，幾乎每天都有商隊在甘肅境內(nèi)進(jìn)行交易，留下了一件件體現(xiàn)中西文化交流的藝術(shù)品……

1988年秋，在“絲綢之路”進(jìn)入河西走廊的北道要隘——甘肅靖遠(yuǎn)縣，一戶農(nóng)民在建房挖地基時發(fā)現(xiàn)了一只有胡語銘文的鎏金銀盤。此盤挖掘出土后立即引起了文博界的關(guān)注。經(jīng)鑒定，這是一只屬東羅馬時代的西方刻銘銀盤。

銀盤曾鎏金，今已大部分脫落。盤內(nèi)滿飾浮雕花紋。紋飾分為三個區(qū)域：外圈飾十六組相互勾連的葡萄卷草紋;中間呈環(huán)帶狀，內(nèi)列十二個人頭像;中心部分為一微微凸起的圓域，圖案為一倚坐于獅豹類猛獸背部的青年男性，中外學(xué)者大都判斷是古希臘神話中的葡萄酒之神：狄奧尼索斯。

甘肅省博物館將該銀盤的年代定為東羅馬時代，約相當(dāng)于我國魏晉南北朝時期。東羅馬帝國前期與中國保持友好往來，據(jù)《魏書》記載，東羅馬帝國曾三次派使團(tuán)訪問過北魏。也許這只銀盤就是當(dāng)時東羅馬使者遺留在黃河古渡口的貢品，也可能是那個時代西方商旅攜帶的交換物。

白玉杯·曹魏

“若問古今興廢事，請君只看洛陽城。”被稱為“十三朝古都”的洛陽，自夏代開始就是古代君主們理想的定都點(diǎn)，也是聯(lián)合國教科文組織評定的絲綢之路東方起點(diǎn)之一和隋唐大運(yùn)河的中心。在奔騰不息的時間潮流中，洛陽以不曾間斷的歷史脈絡(luò)向世人展現(xiàn)源遠(yuǎn)流長的河洛文明。

洛陽博物館推出的文物是一只白玉杯。這件器物出土于曹魏正始八年的一個墓中，玉杯通體純白，曲線流暢優(yōu)美，拋光細(xì)膩潤澤，沒有任何紋飾造型，脫俗大氣，極具曹魏時期簡樸、古拙的風(fēng)格。

玉杯選用珍貴的和田白玉雕琢而成。和田地區(qū)自古以盛產(chǎn)美玉著稱，產(chǎn)自西域的玉料在1700年前被運(yùn)至洛陽，由中原工匠加工成酒杯，反映了曹魏時代雖然戰(zhàn)爭頻發(fā)，但是絲綢之路上的交流依然暢通的歷史場景。

這是目前國內(nèi)唯一一件曹魏時代的和田玉杯，具有極高的歷史價值。

“蒲類州之印”銅印·唐

“蒲類州之印”銅印于1973年在吉木薩爾縣北庭故城出土。這枚唐朝印章邊長5.7厘米、高3.6厘米。銅印為正方形，印文為篆書“蒲類州之印”鑿刻。

公元657年，唐朝平定西突厥可汗阿史那賀魯之亂以后，在天山以北及中亞地區(qū)設(shè)立了都護(hù)府、都督府和州，統(tǒng)歸安西都護(hù)府管轄。公元659年，唐政府對所建立的府、州頒授“各級印契，以為征發(fā)符信”，蒲類州（州址在今奇臺縣境內(nèi)）就是此次平定之后所建立的府、州之一。

該文物可以說是唐朝統(tǒng)一西域的歷史見證。

三兔蓮花飛天藻井·隋

三兔蓮花飛天藻井位于敦煌莫高窟第407窟。莫高窟第407窟的藻井是隋代藻井的經(jīng)典之作，藻井中心是一朵雙層八瓣大蓮花，花心是一個綠色的圓圈，圓圈中畫出三兔造型，三只兔子在圓環(huán)中奔跑，雖只畫了三只耳朵，但每只兔子都可看到兩只耳朵。這是在平面構(gòu)圖中巧妙應(yīng)用共用原理的例子，這一圖案紋樣體現(xiàn)了來自中亞的影響。

在蓮花的周圍又有八身飛天環(huán)繞蓮花飛行。這些飛天手托鮮花，興高采烈地行進(jìn)著，長長的飄帶伴隨著流云、鮮花，具有熱烈的氣氛。在藻井的四周，還畫出菱格蓮花紋和鱗片紋、垂角紋等，色彩華麗，配合著飛天與三兔奔跑的強(qiáng)烈旋轉(zhuǎn)的動勢，充滿了生機(jī)勃勃的激昂情調(diào)。

胡人牽駝俑·北魏

大同市博物館藏胡人牽駝俑，出土于大同城東石家寨村司馬金龍墓。駱駝長29.5厘米、高31.5厘米，牽駝胡俑高20厘米。駱駝通體施褐色釉，昂首曲頸，目視前方，雙峰高聳，呈站立狀，宛若正整裝待發(fā);牽駝胡俑施青綠色釉，深目高鼻，頭戴尖頂圓帽，帽邊有穗，身著圓領(lǐng)窄袖及膝長衣，側(cè)擺開叉，腰系帶，足登靴，右手平舉作牽引狀，側(cè)身仰視駱駝。

1600年前，作為北魏帝都，平城（今山西）大同貢使往來不絕，商賈經(jīng)年盈路，是絲綢之路上的璀璨明珠。

藏族嵌瓷片黑陶茶壺

這件茶壺的紋飾以藏傳佛教的吉祥圖案為主，同時還有灶神、龍、獅子、青稞、蓮花的圖紋。它的壺蓋是銀質(zhì)的，上面有立體的浮雕圖案，用白色的碎瓷和黑陶鑲嵌組合，形成黑白的色彩對比。整個工藝讓人感覺質(zhì)樸與獨(dú)特。是云南的藏民喝酥油茶時的日常用具。

從橫斷山脈到雪域高原，從南海之濱到大漠深處，綿延盤旋著一條條神秘的古道，這些古道形成于秦漢，興盛于唐宋，以滇藏、川藏、青藏、滇桂四條線路為主線，連接古代陸上絲綢之路、海上絲綢之路，組成亞洲中部高原地帶的龐大交通網(wǎng)絡(luò)，這就是茶馬古道。

茶馬古道是世界上地勢最高的文明傳播古道，它與絲綢之路一起，促進(jìn)了西南、西北及南亞、東南亞的古代文化交流與商貿(mào)往來，沿著這條道路，茶從中國走向了世界，成為中國文化的象征之一。

鎏金銅蠶·漢

定都長安的西漢王朝，開創(chuàng)了中國古代社會的第一個盛世。隨著絲綢之路的開通，作為絲路起點(diǎn)之一的長安城，日漸成為東亞文明的中心和著名的國際大都會。

鎏金銅蠶，漢代，1984年出土于陜西省石泉縣，全身首尾共計九個腹節(jié)，胸腳、腹腳、尾腳均完整，體態(tài)為仰頭或作吐絲狀，制作精致，造型逼真。

據(jù)《石泉縣志》記載，此地古代養(yǎng)蠶業(yè)頗為興盛。由于當(dāng)時養(yǎng)蠶之風(fēng)盛行，加之鎏金工藝的發(fā)展，因而有條件以鎏金蠶作紀(jì)念品或殉葬品。漢代的養(yǎng)蠶繅絲業(yè)非常發(fā)達(dá)，大的作坊均為官府經(jīng)營，織工多達(dá)數(shù)千人，絲織品顏色鮮艷，花紋多樣，做工極為精致。西漢絲織品不僅暢銷國內(nèi)，而且能途經(jīng)中亞行銷西亞和歐洲。

這件小巧的器物可以說是漢代絲綢業(yè)和絲綢之路的重要象征和實(shí)物見證，同時也體現(xiàn)了絲綢在中國古代中西方貿(mào)易中的重要地位，見證了古絲綢之路的輝煌歷史。

鎏金銀壺·北周

這件鎏金銀壺通高37.5厘米，最大腹頸12.8厘米，重1.5公斤。鴨嘴細(xì)頸，上腹細(xì)長下腹圓鼓，高圈足座，單把，壺把上鑄成一深目高鼻帶盔形帽的人頭像。腹部圓鼓，上部小，下部逐漸加大后內(nèi)收，在底座連接處有一圈連珠紋。壺腹一周共有三組畫面，每組畫面有一男一女，講述了一個《荷馬史詩》中記載的古希臘神話故事——“特洛伊之戰(zhàn)”。從故事的源頭“金蘋果之爭”到大名鼎鼎的“木馬計”，一場史詩般的宏大戰(zhàn)爭，以最簡潔的構(gòu)圖，濃縮錘鑿在了這一只小小的壺身上，這不禁令后人驚詫古代波斯匠人那無與倫比的藝術(shù)表現(xiàn)力。紋飾的主要部分是壺腹浮雕人物圖像，展現(xiàn)的是具有希臘風(fēng)格的連環(huán)故事畫面。

鎏金銀壺是波斯王朝的酒具，在薩珊時代的中亞巴克特利亞地區(qū)制造，是薩珊工匠模擬希臘圖像的產(chǎn)物。壺的形制完全沿用薩珊王朝金銀器風(fēng)格，但壺把上的人頭形象與薩珊波斯人形象有別，屬中亞巴克特利亞人。該鎏金銀壺?zé)o論是工藝水準(zhǔn)還是表現(xiàn)內(nèi)容，在現(xiàn)存的薩珊文物中都是絕無僅有的。它不僅是中外歷史文化交流的見證，更是絲綢之路商貿(mào)頻繁往來的縮影。

Since May 13， 2020， over 60 museums and other cultural institutions across China participating in Silk Road Week have been each posting a poster featuring an exhibit from their collections on Weibo， a social media in China. All these museums and other cultural institutions present their posters in turn， one poster for a day. Here are some posters.

Woof Brocade with a Pegasus design， Tang Dynasty

This brocade is now in the collection of China National Silk Museum based in Hangzhou. The brocade is a remnant of a larger fabric. Pegasus， an immortal winged horse in Greek mythology， is one of the two children of Poseidon and Medusa. According to Greek mythology， Pegasus was capable of creating water streams wherever hed struck his hoof. Similar fabrics with a Pegasus design have been seen in Egypt and China. This woof brocade， discovered in China， is a perfect example of cultural exchange in the form of Persian art and Chinese silk.

Gilt Silver Plate， Eastern Roman Empire

This silver plate is in the collection of Gansu Museum. A province in the northwest of China， Gansu saw a stretch of 2，000 kilometers of the Silk Road zigzagging in its territory， that is， half of the 4，000-km China-section of the Silk Road is in Gansu. From the Han Dynasty （206 BC-220 AD） up to the Ming Dynasty （1368-1644）， caravans passed through Gansu for about 1，800 years. These traders left various footprints in this part of China.

In the autumn 1988， a farmer unearthed a gilt silver plate with an inscription in a foreign language while he was digging at a construction site where he was going to build a house. The farmer lived in Jingyuan County， which was a key gateway to the Hexi Corridor on the Silk Road. The excavated plate caused a sensation among archaeologists and other scholars.

Experts at Gansu Museum traced the plate back to the era of Eastern Roman Empire， which partly paralleled the Wei， Jin， and Northern and Southern Dynasties from the 3rd century to the 6th century. According to ， the Eastern Roman Empire sent diplomats to visit Northern Wei ?Dynasty （386-534） three times. This gilt silver plate might have been a gift left over by an envoy from Eastern Roman Empire on the ancient ferry on the Yellow River. Or it might have been part of a deal between a Chinese trader and a trader from the west.

White Jade Cup， Wei State of the Three Kingdoms

This cup is in the collection of Luoyang Museum. Luoyang housed the royal families of thirteen dynasties and played a central key role in the Grand Canal during the Sui （581-617） and the Tang （618-907） dynasties， the Grand Canal which UNESCO considers as the departure point of the Silk Road in the east.

The white jade was unearthed from a tomb that dates back to 247AD， a year of the Wei Kingdom of the Three Kingdoms （220-280）. The cup was made of Hetian Jade， which came from Yutian， a state in present-day Xinjiang. The raw jade must have been shipped over 1，700 years ago to Luoyang， where it was made into a cup. This indicates that the Silk Road must have been operating well despite the fact that there was a war raging all the time. This is the only extant Hetian jade piece of that time.

Government Seal of the Pulei Prefecture， the Tang Dynasty

The seal was unearthed from the ruins of an ancient city in Xinjiang. The seal， made in the Tang， measures 5.7 centimeters long and 3.6 centimeters tall. The government seal is in the calligraphy style of the seal script. In 657AD， the Tang set up the garrison towns in the wide region north of the Tianshan Mountain and central Asia regions after cracking down a rebellion. In 659AD， the Tang set up prefecture governments in these areas. This seal is a witness to the rule of Tang in the Western Region.

Caisson Ceiling with a design of rabbits， lotus flowers and apsaras

This caisson ceiling is from Grotto Number 407 in Mogao Grottos in Dunhuang， Gansu Province. The caisson ceiling presents the best of its kind in the Sui Dynasty. The composition of the design on the caisson reflects the influences from the Central Asia. Eight ladies fly in the sky around lotus flowers， with long silk ribbons flowing. Around the caisson are some other patterns. The design of the caisson reflects the flourishing cultural exchanges made possible by the Silk Road.

Foreigner and Camel Figurines， Northern Wei Dynasty

The set of figurines is in the collection of Datong Museum. It was excavated from a tomb by a village east of Datong， which was the capital of Northern Wei about 1，600 years ago. It was a city of traders who bought and sold goods from the Silk Road. The two figurines symbolize the prosperity of the Silk Road back then.

A Tibetan Black Pottery Teakettle with porcelain shards embedded

The tea kettle presents a design of auspiciousness seen in Tibetan Buddhism. Moreover， there are patterns featuring the kitchen god， dragon， lion， highland barley， and lotus. This kettle was used by Tibetans living in Yunnan. There were four ancient tea-horse roads that respectively connected Yunnan and Tibet， Sichuan and Tibet， Qinghai and Tibet， and Yunnan and Guangxi. These four roads organized themselves into a wide network of trade routes that connected with the overland silk trade routes and maritime silk routes. Together， the Tea-Horse Roads and the Silk Road promoted the cultural and commercial prosperity in this part of Asia. Moreover， tea from China went international through the Tea-Horse Roads.

Gilt Copper Silkworm， Han Dynasty

This gilt copper silkworm is in the collection of Shaanxi History Museum based in Xian， which first served as the capital city of the Han Dynasty. As the departure point of the Silk Road， Changan became an international metropolis and the very center of the civilization in East Asia.

The copper silkworm was excavated from Shiquan County， Shaanxi Province. It was a complete insect and looks very real. According to local historical records， sericulture thrived in the county and the wealth accumulated from the industry made it possible for some people to afford such an expensive burial object. The Han Dynasty boasted a full-fledged sericulture. The biggest silk-reeling factories were operated by the government and had thousands of employees.

Gilt Silver Kettle， Northern Zhou

In the collection of Guyuan Museum of Ningxia， this kettle presents three sets of figures， one male and one female in each. Based on ， one of Greek poet Homers two epics， the images highlight the three key moments in the epic： the Golden Apple of Discord， the Trojan War， and the Trojan Horse. The epic war is simplified to the three sets of images. It makes one wonder how the ancient Persian craftsmen accomplished such a feat. The gilt silver kettle was a wine vessel made in Bactria in Central Asia during the Sassanid Empire （224-651）. The images were an imitation of the Greek art. The kettle itself was in the pure and authentic format for gold and silver vessels in the Sassanid Empire. However， the head on the kettle handle isnt of Greece at all. It was a head of someone in Bactria. The kettle and its craftsmanship is quite unique in extant antiques from the Sassanid Empire. Moreover， the kettle itself is a testimony to the cultural exchanges between China and the rest of the world and to the prosperity of the Silk Road.