【作者】 周琳；

【导师】 田广林；

【作者基本信息】 辽宁师范大学 ， 考古学及博物馆学， 2011， 硕士

【摘要】 璎珞,是指以金玉珠翠等贵重物品为主要材质穿缀成有类于花环形的,佩戴于头、颈、胸、手臂和腿脚等部位的华美佩饰。这种华美佩饰最初流行于古代南亚次大陆的贵族男女社会,佛教产生之后,逐渐成为菩萨、诸天等庄身饰品,汉魏以后,随着佛教东传,遂又渐次流行于中国南北各地的僧俗社会。1980年代以来,随着玉学玉文化研究热潮的渐次出现,有关辽代玉器的研究成果时有出现,广度和深度都属可观。但对于璎珞佩饰研究存在明显不足:其一,缺乏对辽代考古出土璎珞的系统分析与梳理,未能真正解决辽代璎珞的分期、形制演变、特色等问题;其二,研究视野不够宽泛,导致对璎珞的界定、文化内涵及盛行原因等方面研究的欠缺。目前已有的辽代考古学材料表明,辽代的璎珞佩饰在出土辽玉中所占比例很大,绝大多数出自于契丹贵族墓葬。从使用情况来看,璎珞佩饰在辽代贵族社会中男女通服,早、中、晚期均有发现。研究可知辽代契丹人佩戴璎珞主要为项璎珞,少数为臂璎珞和胸璎珞。其中,项璎珞有单挂式和多重式之分,且项饰中经常出现“T”形饰和“心”形饰。而与项璎珞款式多样、形制复杂相比,辽代臂璎珞和胸璎珞略显单一、简约,两者在材质、工艺和形制上大体一致,均是由玛瑙管和金丝球相间穿连组成。与其他朝代、民族相比,辽代契丹璎珞在选材和部件组合上独具特色。就材质而言,大量选用琥珀和玛瑙质;就部件组合而言,辽代璎珞中经常出现形体较大且雕饰精美的琥珀饰、玛瑙管形饰、T形饰和心形饰。契丹本无佩戴璎珞故俗,璎珞传入契丹社会应当在辽朝建立以后。起初,辽代社会佩戴璎珞尚不普遍,后随着辽朝国力强大、社会发展,佩戴璎珞渐成风尚。从辽代遗存出土的大量璎珞及其散件表明,辽代璎珞佩饰至为盛行,其出土数量之大、选材之优、制作之美为其他历朝各代所不及。璎珞佩饰之所以在辽代社会风靡流行,与当辽之际,佛教兴盛、中西文化交流互动密切和契丹民族独特的审美情趣有着深切的内在关系。更多还原

【Abstract】 The keyura referred to the gorgeous accesory which was made of gold, jade and other valuable materials and similar to wreath-shaped, which was also worn to the head, neck, chest, hand and legs, and which was the earliest popular in the ancient India of South-Asian subcontinent. The keyura gradually had become the ornaments in the statues of bodhisattva and other Buddhist ones after the Buddhism being born. With the Buddhism spreading to the east, the keyura was also prevalent among the all orders of society in China after Han and Wei Dynasty.Some related scholars had been doing research on the jade ware in Liao Dynasty, gained considerable achievements from 1980s so far. There was still having obvious deficiencies on keyura accessory, which was unearthed from the jade ware in Liao dynasty. First, they were lack of combing and analyzing systematically on the keyura which was excavated archeological materials in Liao dynasty and failed to solve the every aspects of problem, including the periodization, the shape evolution, the characteristics and other questions. Second, it led to the studying defects on keyura in the cultural connotation; the reason of popularity and the definition because of the absence of broadening the research vision.The keyura had occupied the big proportion of the jade ware unearthed in Liao Dynasty according to the archeological materials which were known in Liao Dynasty, most of which was derived from the khitan noble burial. The keyura had also been worn by the all people in khitan society, which was judged by the actual use of them, which was found in the ancient burial from beginning to the end in Liao Dynasty.It was composed of two parts in the khitan people who wore the keyura, the main one of which belonged to neck-keyura, the subordinate one of which belonged to arm-keyura and chest-keyura. The neck-keyura was divided into the single layer and the several layers, which was also found the sorts of T-shape and Heart-shape. Comparing to the neck-keyura that was so diverse in style and complicated in shape, the arm-keyura and the chest-keyura showed a little simple and concise, the two of which were approximately the same in the field of material, handicraft and shape.In the contrast of other nationality and dynasty, khitan keyura had its own characteristics in selecting materials and assembling the parts. Mention to the materials, the khitan keyura was made good use of amber and agate. As for the parts assembling, the khitan keyura was taken advantage of T-shape, Heart-shape and Tube-shape. The khitan people did not wear the keyura in the past, which was so popular after the establishment of Liao Dynasty. With more powerful in national capability and the social developing, it was so common to wear the keyura accessory in Liao Dynasty, on the basis of which was unearthed in the historical relics of Liao Dynasty. The keyura accessory was so fashionable, the reason of which was the internal relations among the khitan unique aesthetic interest, the Buddhist prosperity and exchanging closely between China and western society.更多还原