一叶一菩提?闻一以知十

屠悦

文物篇

丝绸之路虽以丝绸作为名字，但丝路上交流的却不只是丝绸和丝织技艺，它更是东西方文化交流的主要通道。丝绸之路周举行的文物海报接力，利用网络传播将这些记忆串联成线，让我们在欣赏精美海报的同时，也能更加了解丝绸之路，更深地领悟丝绸之路所传达的精神。

一场有趣的接力活动，从2020年5月13日起在微博上火热地开展起来。这就是“2020丝绸之路周”中“一花一世界：丝绸之路上的互学互鉴”展上的丝路文物海报接力活动。

作为“丝绸之路周”的活动之一，中国丝绸博物馆联动敦煌研究院、甘肃省博物馆、新疆维吾尔自治区博物馆、陕西历史博物馆、宁夏固原博物馆、云南省博物馆等60余家丝绸之路沿线文博机构，以文物海报的形式呈现各自珍藏的文物，为观众展示丝绸之路上的历史文化。

本文选取了其中一些文物海报，让我们一起了解、欣赏这些镇馆的“丝绸宝宝”。

翼马纹锦·唐

翼马纹锦是中国丝绸博物馆的馆藏文物。这件残片为斜纹纬锦，目前残留有一个半的联珠团窠图案。其中外圈的联珠图案底色由深蓝、红两色构成，较为别致。团窠外装饰有十字宾花图案，团窠之中是一翼马纹样，其造型具有典型的萨珊波斯风格，头戴六瓣小花状冠饰，颈系联珠纹带，背生双翼，翼间同样装饰有联珠纹，四足及尾部亦系绸带作装饰。

翼马的原型是古希腊神话中海神波塞冬与美杜莎之子珀伽索斯（Pegasus），據说其马蹄踩过的地方便有泉水涌出，诗人饮用后可获灵感。

类似的翼马纹锦在埃及的安底诺伊、中国吐鲁番的阿拉沟等地也有出土。这件纬锦织物在中国的发现，是波斯艺术与中国丝绸文化交流的极佳实例。

东罗马鎏金银盘

丝绸之路全长7000公里，中国境内长4000公里，甘肃境内长达近2000公里。自汉代至明代这1800年里，几乎每天都有商队在甘肃境内进行交易，留下了一件件体现中西文化交流的艺术品……

1988年秋，在“丝绸之路”进入河西走廊的北道要隘——甘肃靖远县，一户农民在建房挖地基时发现了一只有胡语铭文的鎏金银盘。此盘挖掘出土后立即引起了文博界的关注。经鉴定，这是一只属东罗马时代的西方刻铭银盘。

银盘曾鎏金，今已大部分脱落。盘内满饰浮雕花纹。纹饰分为三个区域：外圈饰十六组相互勾连的葡萄卷草纹;中间呈环带状，内列十二个人头像;中心部分为一微微凸起的圆域，图案为一倚坐于狮豹类猛兽背部的青年男性，中外学者大都判断是古希腊神话中的葡萄酒之神：狄奥尼索斯。

甘肃省博物馆将该银盘的年代定为东罗马时代，约相当于我国魏晋南北朝时期。东罗马帝国前期与中国保持友好往来，据《魏书》记载，东罗马帝国曾三次派使团访问过北魏。也许这只银盘就是当时东罗马使者遗留在黄河古渡口的贡品，也可能是那个时代西方商旅携带的交换物。

白玉杯·曹魏

“若问古今兴废事，请君只看洛阳城。”被称为“十三朝古都”的洛阳，自夏代开始就是古代君主们理想的定都点，也是联合国教科文组织评定的丝绸之路东方起点之一和隋唐大运河的中心。在奔腾不息的时间潮流中，洛阳以不曾间断的历史脉络向世人展现源远流长的河洛文明。

洛阳博物馆推出的文物是一只白玉杯。这件器物出土于曹魏正始八年的一个墓中，玉杯通体纯白，曲线流畅优美，抛光细腻润泽，没有任何纹饰造型，脱俗大气，极具曹魏时期简朴、古拙的风格。

玉杯选用珍贵的和田白玉雕琢而成。和田地区自古以盛产美玉著称，产自西域的玉料在1700年前被运至洛阳，由中原工匠加工成酒杯，反映了曹魏时代虽然战争频发，但是丝绸之路上的交流依然畅通的历史场景。

这是目前国内唯一一件曹魏时代的和田玉杯，具有极高的历史价值。

“蒲类州之印”铜印·唐

“蒲类州之印”铜印于1973年在吉木萨尔县北庭故城出土。这枚唐朝印章边长5.7厘米、高3.6厘米。铜印为正方形，印文为篆书“蒲类州之印”凿刻。

公元657年，唐朝平定西突厥可汗阿史那贺鲁之乱以后，在天山以北及中亚地区设立了都护府、都督府和州，统归安西都护府管辖。公元659年，唐政府对所建立的府、州颁授“各级印契，以为征发符信”，蒲类州（州址在今奇台县境内）就是此次平定之后所建立的府、州之一。

该文物可以说是唐朝统一西域的历史见证。

三兔莲花飞天藻井·隋

三兔莲花飞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经典之作，藻井中心是一朵双层八瓣大莲花，花心是一个绿色的圆圈，圆圈中画出三兔造型，三只兔子在圆环中奔跑，虽只画了三只耳朵，但每只兔子都可看到两只耳朵。这是在平面构图中巧妙应用共用原理的例子，这一图案纹样体现了来自中亚的影响。

在莲花的周围又有八身飞天环绕莲花飞行。这些飞天手托鲜花，兴高采烈地行进着，长长的飘带伴随着流云、鲜花，具有热烈的气氛。在藻井的四周，还画出菱格莲花纹和鳞片纹、垂角纹等，色彩华丽，配合着飞天与三兔奔跑的强烈旋转的动势，充满了生机勃勃的激昂情调。

胡人牵驼俑·北魏

大同市博物馆藏胡人牵驼俑，出土于大同城东石家寨村司马金龙墓。骆驼长29.5厘米、高31.5厘米，牵驼胡俑高20厘米。骆驼通体施褐色釉，昂首曲颈，目视前方，双峰高耸，呈站立状，宛若正整装待发;牵驼胡俑施青绿色釉，深目高鼻，头戴尖顶圆帽，帽边有穗，身着圆领窄袖及膝长衣，侧摆开叉，腰系带，足登靴，右手平举作牵引状，侧身仰视骆驼。

1600年前，作为北魏帝都，平城（今山西）大同贡使往来不绝，商贾经年盈路，是丝绸之路上的璀璨明珠。

藏族嵌瓷片黑陶茶壶

这件茶壶的纹饰以藏传佛教的吉祥图案为主，同时还有灶神、龙、狮子、青稞、莲花的图纹。它的壶盖是银质的，上面有立体的浮雕图案，用白色的碎瓷和黑陶镶嵌组合，形成黑白的色彩对比。整个工艺让人感觉质朴与独特。是云南的藏民喝酥油茶时的日常用具。

從横断山脉到雪域高原，从南海之滨到大漠深处，绵延盘旋着一条条神秘的古道，这些古道形成于秦汉，兴盛于唐宋，以滇藏、川藏、青藏、滇桂四条线路为主线，连接古代陆上丝绸之路、海上丝绸之路，组成亚洲中部高原地带的庞大交通网络，这就是茶马古道。

茶马古道是世界上地势最高的文明传播古道，它与丝绸之路一起，促进了西南、西北及南亚、东南亚的古代文化交流与商贸往来，沿着这条道路，茶从中国走向了世界，成为中国文化的象征之一。

鎏金铜蚕·汉

定都长安的西汉王朝，开创了中国古代社会的第一个盛世。随着丝绸之路的开通，作为丝路起点之一的长安城，日渐成为东亚文明的中心和著名的国际大都会。

鎏金铜蚕，汉代，1984年出土于陕西省石泉县，全身首尾共计九个腹节，胸脚、腹脚、尾脚均完整，体态为仰头或作吐丝状，制作精致，造型逼真。

据《石泉县志》记载，此地古代养蚕业颇为兴盛。由于当时养蚕之风盛行，加之鎏金工艺的发展，因而有条件以鎏金蚕作纪念品或殉葬品。汉代的养蚕缫丝业非常发达，大的作坊均为官府经营，织工多达数千人，丝织品颜色鲜艳，花纹多样，做工极为精致。西汉丝织品不仅畅销国内，而且能途经中亚行销西亚和欧洲。

这件小巧的器物可以说是汉代丝绸业和丝绸之路的重要象征和实物见证，同时也体现了丝绸在中国古代中西方贸易中的重要地位，见证了古丝绸之路的辉煌历史。

鎏金银壶·北周

这件鎏金银壶通高37.5厘米，最大腹颈12.8厘米，重1.5公斤。鸭嘴细颈，上腹细长下腹圆鼓，高圈足座，单把，壶把上铸成一深目高鼻带盔形帽的人头像。腹部圆鼓，上部小，下部逐渐加大后内收，在底座连接处有一圈连珠纹。壶腹一周共有三组画面，每组画面有一男一女，讲述了一个《荷马史诗》中记载的古希腊神话故事——“特洛伊之战”。从故事的源头“金苹果之争”到大名鼎鼎的“木马计”，一场史诗般的宏大战争，以最简洁的构图，浓缩锤凿在了这一只小小的壶身上，这不禁令后人惊诧古代波斯匠人那无与伦比的艺术表现力。纹饰的主要部分是壶腹浮雕人物图像，展现的是具有希腊风格的连环故事画面。

鎏金银壶是波斯王朝的酒具，在萨珊时代的中亚巴克特利亚地区制造，是萨珊工匠模拟希腊图像的产物。壶的形制完全沿用萨珊王朝金银器风格，但壶把上的人头形象与萨珊波斯人形象有别，属中亚巴克特利亚人。该鎏金银壶无论是工艺水准还是表现内容，在现存的萨珊文物中都是绝无仅有的。它不仅是中外历史文化交流的见证，更是丝绸之路商贸频繁往来的缩影。

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.