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“摩竭”是唐宋辽金时期比较流行的器物造型和纹饰样本之一,尤其在辽代更为典型,契丹民族将游牧民族的草原风格与自唐承袭而来的摩竭佛教文化和鱼龙变化相结合,创造出本民族独具特色的摩竭文化。摩竭纹在辽代的流行反映了契丹文化除传统因素外,亦包含诸多外来因素,对了解契丹文化具有重要意义。本文以馆内展出的三件辽代摩竭形器物和笔者所掌握的各地摩竭器物资料为基础,参照前人的研究,对辽代摩竭文化作进一步之探讨。
“Mount exhaustion ” is one of the more popular samples of objects and ornaments in the Liao and Jin dynasties, especially in the Liao Dynasty. The Qidan nationalities combined the nomadic grassland style with the Buddhist culture and fish Dragon combination of changes to create a unique ethnic Morang culture. Moutan pattern in Liao Dynasty reflects the Khitan culture in addition to the traditional factors, but also contains many external factors, the understanding of the Khitan culture is of great significance. Based on the three artifacts on display in Liao Dynasty and the information of artifacts held by the author in the museum, this article makes further discussion on Mount Moto culture in the Liao Dynasty with reference to the research of predecessors.