「猴與馬」造型母題：一個草原與中原藝術交流的古代見證

歐亞草原上善於養馬的游牧民族和華夏農業社會在接觸的過程裡，曾將和養馬相關的技術和信仰帶入中原。他們普遍相信猴有防止馬牛羊疫病的能力。出土資料證明戰國時代的中原工匠很可能已開始為草原游牧民族製造寓有這樣意義的銅飾。這樣的造型母題進入中原以後，有些保持了大體相似的造型特色和寓意，有些則發生了像山東畫像石上那樣的造型和寓意上的變化，而具有「馬上封侯」的意義。寓馬上封侯之意的裝飾也可能因華夏工匠的製作，回傳草原社會，而為遊牧民族所接受。這是一個頗為複雜的互動過程，情形到底如何？有待更深入的研究。

關鍵字

馬上封侯；鄂爾多斯青銅垂飾；漢代畫像；猴防馬疫

並列摘要

During the process of exchange between those nomadic peoples of the Eurasian steppes and Chinese agricultural societies, techniques and beliefs related to the raising of horses were carried onto the Chinese central plain. Nomadic peoples generally believed that monkeys had the ability to prevent illnesses and plagues in horses, cattle, and sheep, and excavated materials have proven that during the Warring States period, Chinese artisans had possibly already begun to create bronze amulets which displayed these beliefs (i.e. the relationship between monkeys and horses) for the nomadic peoples. After this motif entered the Chinese central plain, it sometimes retained roughly the same meaning and design characteristics it had before, but, in some cases, the motif's meaning and design changed (like those changes seen in Shandong stone sculptures and portraits) and it was, instead, used to express wishes for prosperity and promotion. Decorations which implied wishes for quick promotion and wealth, possibly because of their creation by Chinese craftsmen, were transmitted back to societies on the steppe and accepted by the nomadic peoples. In this extremely complicated process of interaction, what was actually going on? The answer to this question awaits further study and research.