【作者】 李意愿；

【导师】 霍巍；

【作者基本信息】 四川大学 ， 考古学及博物馆学， 2007， 硕士

【摘要】 本文系统收集材料，在前人研究的基础上，对带框牌饰进行了综合研究。论文以中原和南方两个地区所出土的考古资料为主要研究对象，同时参考国内外博物馆的藏品，并联系北方草原地区同类材料，对带框牌饰的形制和纹饰进行了详细而具体的解读和对比分析，对其一系列相关问题进行了研究，从一个侧面和角度探讨了北方草原文化对中原、南方地区的影响以及中西文化之间的早期文化交流状况。战国西汉时期的带框牌饰初步分为战国晚期至秦，西汉早期和中期，以及西汉晚期三个发展阶段。中原和南方地区出土的很多长方形带框牌饰在北方草原地区都有相似器物的考古发现，两者之间既有很强的相似性又有一些细微的差异。文中对中原、南方地区带框牌饰的主要特征也进行了简要的概括，形制、材质、分布、流行时代、制作技法、纹饰题材、出土情况等都有其自身的特点，这是本文的主要创新点之一。通过对带框牌饰上所见纹饰部分主题的考察，探讨了钩喙怪兽、钩喙鸟首和动物后肢翻转纹饰意匠的来源，认为它们与西方的斯基泰——阿尔泰艺术有着渊源关系。并进一步结合相关考古资料分析了这种外来艺术风格在中国由北至南的传播过程和不断中国化的问题。从有准确出土地点的带框牌饰看，出土这些牌饰的墓葬既有汉族墓葬也有胡人墓，而并不专属于某一特有的居民集团，由此我们可以判定它们并不是为某一族群所固有的。详细地分析西安地区最近发现的铸铜工匠墓以及带框牌饰所反映出的区域特点后，我们倾向于认为战国西汉时期西安地区一直有一批工匠在生产这种牌饰，是牌饰的一个生产中心。同时，由于南越国的特殊地位和位置，西汉时期在广州亦可能存在另一个生产中心。而云南地区发现的马蹄形带框牌饰，从相关的考古学资料看，也有在当地生产的可能性。带框牌饰的功能，从本身的形制特征以及其出土位置等因素进行分析，我们同意它们绝大部分具有带扣的实甩功能这个看法，但是同时我们认为这种牌饰所辐射出的身份、地位和政治的象征性功用更为重要。权力、政治和声望是东周时期乃至其后封建贵族的主要关注之一。而这一点常被以往研究者所忽视。在初步梳理战国晚期至秦时期中原与胡族关系后，我们认为带框牌饰可能在秦实现其“远交近攻”谋略中充当过另一种意义上的“武器”，在秦兼并六国、统一全国的伟大历史进程中也曾在一定程度上起着较为重要的作用。而西汉时期以帝国与匈奴的关系为转移的外交政策和这一时期猎奇、好胡之风和对神灵力量向往的精神思想以及西汉时期削弱诸侯、加强中央集权的怀柔措施，使得带框牌饰盛行于中原和南方地区，同时也充当了当时和平的政治文化象征。带框牌饰具有草原特色的动物纹饰艺术中部分渊源于斯基泰——阿尔泰艺术的主题的传入与西周时代的周人及东周时代的秦人的“戎狄性”历史不无关系，而更为密切的关系是战国西汉时期活跃于北方草原地区的匈奴等草原民族。在东西方文化交流的早期阶段，当彼此之间的联系主要还是间接和间断性时，一些外来文化因素主要通过匈奴等草原民族的媒介而传入。而在带框牌饰的具体南传中，秦的统一战争所带来的急速的、大范围的人群等流动和政治、经济和文化措施以及边地半月形文化传播带上族群的迁徙都发挥着重要的作用。更多还原

【Abstract】 This thesis carried out a comprehensive study on the ornamental belt plaques with frame, based on the preceding research and systematically collected archaeological materials. It mainly depended on the materials from the scientific archaeological excavation, especially those in the central plains and southern areas, and also it referred to museum collections at home and abroad. Through comparatively analysis to the shapes and motifs of the belt plaques with regards to similar materials in the northern grassland, it tries to explore the influence of the northern steppe culture on the Central Plains and the South, as well as the cultural interaction between ancient China and contemporary foreign countries.The development of ornamental belt plaques with frame from Warring States to Western Han Period could be classified into three stages: from late Warring States to Qin Dynasty , the early and the middle Western Han Dynasty ,and the late Western Han Dynasty. The rectangle belt plaques in the Central Plains find their considerate amount counterparts in the South and the northern Steppe, while keeping similarity they also have some minor variations. Therefore this thesis summarized their common characteristics about shapes, materials, distribution, prevailing time, manufacture techniques, decoration, burial situations, etc. By analyzing several motifs of the ornamental belt plaques with frame, it explored the origins of some motifs such as the monster with hooked beak, hooked beak birds and animals whose quarters are overturned. It argues that they have connections with the Western Scythian - Altai art. The thesis also inquiries the diffusion process of this exotic art style from north China to south and their sinicization.Those tombs where the belt plaques unearthed belong to both Han people and the foreigners, thus we could deduce that they were not specifically applicable to any ethnic group.After discussing the tomb buried of a craftsman and the characteristics of belt plaques with frame, we propose that Xi’an was one production center, where a number of craftsmen constantly produced belt plaques from the Warring States to the Western Han Dynasty. Meanwhile, because of the special status and position of Nan Yue state, Guangzhou was another center during the Western Han Dynasty. The horseshoe-shaped blet plaques discovered in Yun Nan were probably local production too in terms of correlative archaeological materials.Through analysis on their frame characteristics and the postion in the tombs, we agreed with the popular point that most of the belt plaques with frame were functioned as buckle. However, we believe that the symbol of status, prestige and politics in them were more important, which is ignored by previous research.Through discussing the relationships between central plains and Hu ethnic group from the late Warring States to Qin period, the author believes that the belt plaques played a role in the historical process of Qin’s unification. It acts as another "weapon" in the strategy of "affiliating with far states while attacking close ones."There were several reasons made those belt plaques popular in the Central Plains and the south and served as peacefully political symbol during the western Han Dynasty. First, the foreign policy in the Western Han Dynasty changes in terms of the relation between Han Empire and Xiong Nu. Second, people during the period sought novelty and yearned for God in the spirit. Last, the Western Han Empire weakened vassals’ power to strengthen the central one.The introduction of Scythian ~ Altai art was related with Zhou and Qin’s history between the Western and Eastern Zhou periods. In addition, it closely related with the nomadic people such as Xiong Nu ethnic group who lived in northern grasslands from the Warring states to the Western Han Dynasty.The rapid, large scale immigration of popualtion and its political, economic and cultural measures caused by Qin’s unification war, as well as the immigration of ethnic groups along the frontier crescent-shaped cultural diffusion belt, plays an important role on the southward diffusion of the belt plaques.更多还原