慕容鲜卑人丧葬习俗中的狗

М.А. Kudinova
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引用次数: 0

摘要

本文分析了狗在公元3 - 5世纪居住在满洲南部的鲜卑部落之一——慕戎人的丧葬仪式中所起的作用。已经确定的是,尽管有中国书面资料报道在葬礼仪式中焚烧祭祀动物,但早期的咸璧人也有伴随埋葬狗(整个身体或头)的习俗。根据3世纪末至5世纪初的墓葬证据,狗在慕容人的丧葬仪式中继续发挥重要作用。最具代表性的建筑群是位于辽宁省朝阳市北漂县的冯素福夫人墓(公元415年),其中包括两只狗的陪葬以及壁画上的狗的形象。在河南省安阳市小明屯村附近的74AGM154墓中也发现了狗头和狗爪的埋葬,该墓可追溯到公元3世纪末至4世纪中期。在辽宁省朝阳市西部北庙村附近的1号精英墓中发现了这幅风格与冯素福夫人墓壁画极为相似的狗的图像。研究表明,按照慕容鲜卑的传统礼仪埋葬,在其他民族的代表人物中也很典型,包括北燕贵族冯素福。他来自一个受慕容鲜卑文化影响的汉族贵族。在中国(汉)文化的影响下,慕容人的丧葬仪式也发生了变化,这在墓葬壁画的传播中得到了体现。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dogs in Funerary Practices of the Murong Xianbei
The article analyzes the evidence on the role of dogs in the funeral rite of the Murongs — one of the Xianbei tribes which inhabited Southern Manchuria in the 3rd—5th centuries AD. It has been established that despite the reports of Chinese written sources on burning the sacrificial animals during the funeral ritual, the early Xianbi also had a practice of accompanying burials of dogs (whole bodies or heads). According to the evidence from the burials of the late 3rd — early 5 th centuries, dogs continued to play an important role in the Murong funerary rituals. The most representative complex is the tomb of Feng Sufu’s wife (415) in Beipiao County in Chaoyang Municipality of Liaoning Province, which contained the accompanying burial of two dogs as well as images of dogs in wall paintings. The burial of dog’s head and paws was also discovered in tomb 74AGM154, dated to the late 3rd — mid 4th centuries AD, near Xiaomingtun village in Anyang Municipality of Henan Province. The image of a dog made in extremely similar style to the murals from the tomb of Feng Sufu’s wife, was found in the elite tomb No. 1 near Beimiao village, west of Chaoyang City in Liaoning Province. It has been shown that burials according to the traditional rite of the Murong Xianbei were also typical for the representatives of other ethnic groups, including the Northern Yan aristocrat Feng Sufu. He came from a noble Chinese (Han) clan which was under strong cultural influence of the Murong Xianbei. The funeral rite of the Murongs also underwent transformations associated with influence of the Chinese (Han) culture, which found its expression in the spread of tomb murals.
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