巴拉雷克丘

巴拉雷克丘出土的壁畫，年代為5至7世紀

巴拉雷克丘

巴拉雷克丘在烏茲別克的位置

巴拉雷克丘（烏茲別克語：Bolaliktepa）是烏茲別克南部帖爾米茲附近的一處考古遺址^[1]，為嚈噠貴族一處小型、具防禦工事的封地^[2]，其中出土許多壁畫^[3]，年代約為5世紀晚期至7世紀早期^[3]^[4]^{[註 1]}，稍晚於迪爾伯金丘（英語：Dilberjin Tepe）（位於阿富汗境內）壁畫的年代。巴拉雷克丘與阿吉那丘（英語：Ajina Tepe）和卡菲爾·卡拉（英語：Kafir-kala (Tajikistan)）（皆位於塔吉克境內）的壁畫風格同屬吐火羅派（Tokharistan school）^[5]，並影響了年代稍晚的彭吉肯特粟特藝術^[6]。

壁畫

巴拉雷克丘的壁畫皆以宴會為主題^[7]，雖與該地區同期以佛教為主題的壁畫不同，畫中也沒有佛教人物，但風格仍有相似之處^[8]。畫中的男人不蓄鬍，女子樣貌圓潤，皆穿戴華美的服裝與珠寶配件^[7]。這些壁畫很可能是描繪6世紀早期（突厥汗國征服此地以前）嚈噠貴族典型的宮廷生活，形象類似巴米揚大佛山洞頂部壁畫中的嚈噠人^[9]；另外有些學者認為巴拉雷克丘的壁畫為公元571年突厥汗國征服此地、與薩珊波斯以阿姆河為界之後方繪製^[10]。6世紀晚期巴拉雷克丘的大多數壁畫都受到毀損^[6]^[7]。

有學者認為巴拉雷克丘壁畫中的男子和察赤（Chach，即今塔什干）錢幣上一些匈尼特人/嚈噠統治者的形象相似^[11]，另有學者認為這些硬幣屬突厥汗國^[12]^[13]。

巴拉雷克丘壁畫中的男子^[11]

察赤錢幣

註釋

^ 過去認定為5世紀至6世紀，後來學者多認定為6世紀末至7世紀初^[1]。

參考文獻

^ ^1.0 ^1.1 Deborah E. Klimburg-Salter, Kurt Tropper, Christian Jahoda, Charles Ramble (編). Text, Image and Song In Transdisciplinary Dialogue: PIATS 2003 : Tibetan Studies : Proceedings of the Tenth Seminar of the International Association for Tibetan Studies, Oxford, 2003.. BRILL. 2007 [2021-11-10]. ISBN 900415549X. （原始內容存檔於2021-11-10）.
^ Rowland, Benjamin. The art of Central Asia. New York, Crown. 1975: 75. The exacavations at Balalik Tepe (...) revealed the remains of a small fortified manor that was the seat of a princely Hephthalite clan.
^ ^3.0 ^3.1 Dani, Ahmad Hasan; Litvinsky, B. A. History of Civilizations of Central Asia: The crossroads of civilizations, A.D. 250 to 750. UNESCO. 1996: 183 [2021-11-10]. ISBN 978-92-3-103211-0. （原始內容存檔於2021-11-10）.
^ MUZIO, CIRO LO. Remarks on the Paintings from the Buddhist Monastery of Fayaz Tepe (Southern Uzbekistan). Bulletin of the Asia Institute. 2008, 22: 199. ISSN 0890-4464. JSTOR 24049243.
^ Kurbanov, Aydogdy. THE HEPHTHALITES: ICONOGRAPHICAL MATERIALS (PDF). Tyragetia. 2014: 317–334 [2021-11-10]. （原始內容存檔 (PDF)於2021-08-30）. The Tokharistan school was represented by Balalyk-tepe, Adzhina-tepe, Kafyr-kala; the northern Tokharistan school was found in the Buddhist Temples of Kuva and in Jeti-su
^ ^6.0 ^6.1 Azarpay, Guitty; Belenickij, Aleksandr M.; Maršak, Boris Il'ič; Dresden, Mark J. Sogdian Painting: The Pictorial Epic in Oriental Art. University of California Press. : 93 [2021-11-10]. ISBN 978-0-520-03765-6. （原始內容存檔於2021-11-10）.
^ ^7.0 ^7.1 ^7.2 Frumkin, Grégoire. Archaeology in Soviet Central Asia. Brill Archive. : 116–117 [2021-11-10]. （原始內容存檔於2021-11-10）.
^ Azarpay, Guitty; Belenickij, Aleksandr M.; Maršak, Boris Il'ič; Dresden, Mark J. Sogdian Painting: The Pictorial Epic in Oriental Art. University of California Press. 1981: 92 [2021-11-10]. ISBN 978-0-520-03765-6. （原始內容存檔於2021-11-10）. Besides the obvious thematic difference between the Balalyk-tepe banquet scene and the religiously inspired Buddhist cave paintings from Tukharistan, the two are closely connected by style and iconography.
^ "Azarpay, Guitty; Belenickij, Aleksandr M.; Maršak, Boris Il'ič; Dresden, Mark J. Sogdian Painting: The Pictorial Epic in Oriental Art. University of California Press. : 93 [2021-11-10]. ISBN 978-0-520-03765-6. （原始內容存檔於2021-11-10）. A striking parallel to the Balalyk tepe murals is offered by files of donors represented on the right and left walls of the vault of the 34 m Buddha at Bamiyan. (...) The remarkable overall stylistic and iconographic resemblance between the two sets of paintings would argue for their association with the artistic tradition of the Hephthalite ruling classes of Tukharestan that survived the downfall of Hephthalite power in A.D. 577
^ Sims, Eleanor; Marshak, Boris Ilʹich; Grube, Ernst J.; I, Boris Marshak. Peerless Images: Persian Painting and Its Sources. Yale University Press. : 14 [2021-11-10]. ISBN 978-0-300-09038-3. （原始內容存檔於2020-10-22）.
^ ^11.0 ^11.1 Fedorov, Michael. CHIONITE RULERS OF CHACH IN THE MIDDLE OF THE FOURTH TO THE BEGINNING OF THE SEVENTH CENTURY (ACCORDING TO THE DATA OF NUMISMATICS) (PDF). Iran. 2010, 48: 59–67 [2021-11-10]. ISSN 0578-6967. （原始內容存檔於2021-11-10）.
^ Shagalov, V.D.; Kuznetsov, A.V. Catalogue of coins of Chach III-VIII AD. Tashkent. 2006: 184, 313–315.
^ FEDOROV, MICHAEL; KUZNETSOV, ANDREW. UZBEKISTAN: A HOARD OF EARLY MEDIAEVAL CHACH COINS FROM KANKA (PDF). The Numismatic Chronicle. 2007, 167: 277–285 [2021-11-10]. ISSN 0078-2696. （原始內容存檔於2021-11-10）.

37°32′07″N 67°06′55″E / 37.535384°N 67.115405°E / 37.535384; 67.115405

[5] 過去認定為5世紀至6世紀，後來學者多認定為6世紀末至7世紀初^[1]。

[seminar-1] 1.0 ^1.1 Deborah E. Klimburg-Salter, Kurt Tropper, Christian Jahoda, Charles Ramble (編). Text, Image and Song In Transdisciplinary Dialogue: PIATS 2003 : Tibetan Studies : Proceedings of the Tenth Seminar of the International Association for Tibetan Studies, Oxford, 2003.. BRILL. 2007 [2021-11-10]. ISBN 900415549X. （原始內容存檔於2021-11-10）.

[2] Rowland, Benjamin. The art of Central Asia. New York, Crown. 1975: 75. The exacavations at Balalik Tepe (...) revealed the remains of a small fortified manor that was the seat of a princely Hephthalite clan.

[HC183-3] 3.0 ^3.1 Dani, Ahmad Hasan; Litvinsky, B. A. History of Civilizations of Central Asia: The crossroads of civilizations, A.D. 250 to 750. UNESCO. 1996: 183 [2021-11-10]. ISBN 978-92-3-103211-0. （原始內容存檔於2021-11-10）.

[4] MUZIO, CIRO LO. Remarks on the Paintings from the Buddhist Monastery of Fayaz Tepe (Southern Uzbekistan). Bulletin of the Asia Institute. 2008, 22: 199. ISSN 0890-4464. JSTOR 24049243.

[6] Kurbanov, Aydogdy. THE HEPHTHALITES: ICONOGRAPHICAL MATERIALS (PDF). Tyragetia. 2014: 317–334 [2021-11-10]. （原始內容存檔 (PDF)於2021-08-30）. The Tokharistan school was represented by Balalyk-tepe, Adzhina-tepe, Kafyr-kala; the northern Tokharistan school was found in the Buddhist Temples of Kuva and in Jeti-su

[SP-7] 6.0 ^6.1 Azarpay, Guitty; Belenickij, Aleksandr M.; Maršak, Boris Il'ič; Dresden, Mark J. Sogdian Painting: The Pictorial Epic in Oriental Art. University of California Press. : 93 [2021-11-10]. ISBN 978-0-520-03765-6. （原始內容存檔於2021-11-10）.

[GF-8] 7.0 ^7.1 ^7.2 Frumkin, Grégoire. Archaeology in Soviet Central Asia. Brill Archive. : 116–117 [2021-11-10]. （原始內容存檔於2021-11-10）.

[9] Azarpay, Guitty; Belenickij, Aleksandr M.; Maršak, Boris Il'ič; Dresden, Mark J. Sogdian Painting: The Pictorial Epic in Oriental Art. University of California Press. 1981: 92 [2021-11-10]. ISBN 978-0-520-03765-6. （原始內容存檔於2021-11-10）. Besides the obvious thematic difference between the Balalyk-tepe banquet scene and the religiously inspired Buddhist cave paintings from Tukharistan, the two are closely connected by style and iconography.

[10] "Azarpay, Guitty; Belenickij, Aleksandr M.; Maršak, Boris Il'ič; Dresden, Mark J. Sogdian Painting: The Pictorial Epic in Oriental Art. University of California Press. : 93 [2021-11-10]. ISBN 978-0-520-03765-6. （原始內容存檔於2021-11-10）. A striking parallel to the Balalyk tepe murals is offered by files of donors represented on the right and left walls of the vault of the 34 m Buddha at Bamiyan. (...) The remarkable overall stylistic and iconographic resemblance between the two sets of paintings would argue for their association with the artistic tradition of the Hephthalite ruling classes of Tukharestan that survived the downfall of Hephthalite power in A.D. 577

[11] Sims, Eleanor; Marshak, Boris Ilʹich; Grube, Ernst J.; I, Boris Marshak. Peerless Images: Persian Painting and Its Sources. Yale University Press. : 14 [2021-11-10]. ISBN 978-0-300-09038-3. （原始內容存檔於2020-10-22）.

[MF-12] 11.0 ^11.1 Fedorov, Michael. CHIONITE RULERS OF CHACH IN THE MIDDLE OF THE FOURTH TO THE BEGINNING OF THE SEVENTH CENTURY (ACCORDING TO THE DATA OF NUMISMATICS) (PDF). Iran. 2010, 48: 59–67 [2021-11-10]. ISSN 0578-6967. （原始內容存檔於2021-11-10）.

[13] Shagalov, V.D.; Kuznetsov, A.V. Catalogue of coins of Chach III-VIII AD. Tashkent. 2006: 184, 313–315.

[14] FEDOROV, MICHAEL; KUZNETSOV, ANDREW. UZBEKISTAN: A HOARD OF EARLY MEDIAEVAL CHACH COINS FROM KANKA (PDF). The Numismatic Chronicle. 2007, 167: 277–285 [2021-11-10]. ISSN 0078-2696. （原始內容存檔於2021-11-10）.

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