摘要

本文以西安北周时期安伽墓、史君墓、康业墓三座典型粟特人墓葬为研究对象，聚焦其出土葬具中圣火坛图像的艺术表现与文化内涵。通过对三座墓葬中火坛形制、装饰元素及宗教符号的比较分析，揭示入华粟特人在中原文化语境下的宗教实践与跨文化适应策略。研究发现，北周粟特人墓葬中的圣火坛图像既保留了琐罗亚斯德教的核心宗教内涵，又融合了中原佛教艺术元素与墓葬制度，形成了具有独特地域特征的艺术符号体系。这一符号体系的演变反映了丝绸之路东段宗教艺术的 “在地化” 过程，为理解古代欧亚大陆文化交流的微观机制提供了重要实物证据。

Abstract

This article takes the three typical Sogdian tombs of Anga Tomb, Shijun Tomb and Kangye Tomb in the Northern Zhou Dynasty in Xi'an as the research object, and focuses on the artistic expression and cultural connotation of the images of the sacred flame altar in their unearthed burial tools. Through the comparative analysis of the fire altar shapes, decorative elements and religious symbols in the three tombs, the religious practices and cross-cultural adaptation strategies of the Sogdian people entering China in the cultural context of the Central Plains are revealed. The study found that the images of the sacred flames in the tombs of the Sogdians of the Northern Zhou Dynasty not only retained the core religious connotation of Zoroastrianism, but also integrated the artistic elements of the Central Plains Buddhism and the burial system, forming an artistic symbol system with unique regional characteristics. The evolution of this symbol system reflects the "localization" process of religious art in the eastern section of the Silk Road, which provides important physical evidence for understanding the micro-mechanism of cultural exchanges in ancient Eurasia.

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