Legends, Tales, and Fables in the Art of Sogdiana (Biennial Ehsan Yarshater Lecture Series, No. 1) pdf epub mobi txt 電子書 下載2025
Boris Ilich Marshak (Russian:Борис Ильич Маршак) (July 9, 1933 – 28 July 2006) was an archeologist who spent more than fifty years excavating the Sogdian ruins at Panjakent, Tajikistan.
參見http://en.wikipedia.org/wiki/Boris_Marshak
- 粟特
- 藝術
- sogdian
- 神話
- 西域
- 藝術史
- 宗教
- 絲綢之路美術
In this survey of more than forty illustrative murals excavated over the last 54 years in Panjikent, a 5th-8th century C.E. town in the Zerafshan Valley in Tajikistan, Boris Marshak discusses the rich repertory of legends, tales and myths of the Sogdians that have come to light and recreates the secular literature of Soghdia, one of the most important regions along the Silk Road. Prior to the Panjikent excavations only small fragments of Soghdian secular literature had been discovered in Soghdian colonies in Turfan and Dunhuang. Prof. Boris Marshak has been participating in this famous archaeological expedition since 1954; and has served as its leader since 1976. Soghdian merchants were the masters of the Silk Road and, therefore, their art and literature included many motifs of Greek, Persian and Indian origin. In Soghdia among the pictorial narrative cycles there were at least three epics: a local version of the Indian Mahabharata, the well-known Roman story of Romulus and Remus, and the Iranian legends of Rustam. The excavation teams have found on the walls of the houses of Panjikent dozens of pictorial representations of parables, fables, fairy tales and anecdotes. In several compositions the author has recognized scenes from Aesop's Fables, the Panchatantra and the Sindbad-nameh. He has compared these subjects with those of the fragmentary Soghdian texts. Marshak's book is an important one for anyone interested in the history of the Soghdia, in Iranian studies in general, in comparative studies in folklore and literature, in studies on the problem of narration in the visual arts, and the history of cultural exchange along the Silk Road.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
大師乘鶴 空餘力作 詳細解讀 偉大粟特
评分Azarpay之後對Pandjikent遺址壁畫做綜閤性研究的第二本著作（？）。作者認為，從Pandjikent最常見的兩類圖像，epic cycle和寓言故事齣發，能夠將粟特藝術定義為伊朗傳統內異於薩珊波斯的一支，頗有希臘-羅馬對立的影子在裏麵。順帶提瞭一嘴democratic regime是high art的肥沃土壤，大緻也可以看齣其對波斯藝術的態度瞭。此外，流行於兩河、波斯、印度、阿拉伯（還包括一部分希臘羅馬）的史詩、故事母題他能如此駕輕就熟，對殘破已極的壁畫做齣閤理的猜測與構想，雖然明白這裏麵有長久的學術積纍，仍然令人驚嘆。
评分Azarpay之後對Pandjikent遺址壁畫做綜閤性研究的第二本著作（？）。作者認為，從Pandjikent最常見的兩類圖像，epic cycle和寓言故事齣發，能夠將粟特藝術定義為伊朗傳統內異於薩珊波斯的一支，頗有希臘-羅馬對立的影子在裏麵。順帶提瞭一嘴democratic regime是high art的肥沃土壤，大緻也可以看齣其對波斯藝術的態度瞭。此外，流行於兩河、波斯、印度、阿拉伯（還包括一部分希臘羅馬）的史詩、故事母題他能如此駕輕就熟，對殘破已極的壁畫做齣閤理的猜測與構想，雖然明白這裏麵有長久的學術積纍，仍然令人驚嘆。
评分Azarpay之後對Pandjikent遺址壁畫做綜閤性研究的第二本著作（？）。作者認為，從Pandjikent最常見的兩類圖像，epic cycle和寓言故事齣發，能夠將粟特藝術定義為伊朗傳統內異於薩珊波斯的一支，頗有希臘-羅馬對立的影子在裏麵。順帶提瞭一嘴democratic regime是high art的肥沃土壤，大緻也可以看齣其對波斯藝術的態度瞭。此外，流行於兩河、波斯、印度、阿拉伯（還包括一部分希臘羅馬）的史詩、故事母題他能如此駕輕就熟，對殘破已極的壁畫做齣閤理的猜測與構想，雖然明白這裏麵有長久的學術積纍，仍然令人驚嘆。
评分Azarpay之後對Pandjikent遺址壁畫做綜閤性研究的第二本著作（？）。作者認為，從Pandjikent最常見的兩類圖像，epic cycle和寓言故事齣發，能夠將粟特藝術定義為伊朗傳統內異於薩珊波斯的一支，頗有希臘-羅馬對立的影子在裏麵。順帶提瞭一嘴democratic regime是high art的肥沃土壤，大緻也可以看齣其對波斯藝術的態度瞭。此外，流行於兩河、波斯、印度、阿拉伯（還包括一部分希臘羅馬）的史詩、故事母題他能如此駕輕就熟，對殘破已極的壁畫做齣閤理的猜測與構想，雖然明白這裏麵有長久的學術積纍，仍然令人驚嘆。
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