丝路固原日记：宁夏出土文物小传（一）

Silk Road Guyuan:

Unearthed Cultural Relics

(Part I)

中文/曹少婧，付甜甜，郭旭（2025级学科教学（历史）硕士研究生）

英译/杨欣雨，宋哲哲（2025级英语笔译专业硕士研究生）

译者简介

杨欣雨，男，山东青岛人，共青团员，宁夏师范大学外国语学院2025级英语笔译专业硕士研究生。在2025年“外研社·国才杯”“理解当代中国”全国大学生外语能力大赛校赛中，获得校赛笔译组二等奖；在第四届“外研U词杯”全国大学生英语词汇智慧学习大赛中，获得英语专业组全国三等奖。

宋哲哲，女，河北邯郸人，中共党员，宁夏师范大学外国语学院2025级英语笔译专业硕士研究生。在2025年“外研社·国才杯”“理解当代中国”全国大学生外语能力大赛省赛中，获得宁夏赛区笔译组二等奖；在第四届“外研U词杯”全国大学生英语词汇智慧学习大赛中，获得英语专业组全国三等奖；在第三届大学生职业生涯规划大赛中，获得院级初赛一等奖。

译文呈现

青铜带饰与史观的移换

1.The Bronze Belt Ornament from a Historical Perspective

(Picture: The “Tiger Devouring Deer” Bronze Belt Ornament)

在宁夏出土的这件春秋战国时期“虎噬鹿”青铜带饰，绝非单纯的审美创造，而是研究古代中国边疆史与文明互动的“关键史料”。

The “Tiger Devouring Deer” bronze belt ornament from the Spring and Autumn Period or the Warring States Period, unearthed in Ningxia, is by no means a mere “aesthetic creation”, but rather an important “historical evidence” for studying the history of ancient China’s frontiers and the interaction of its civilizations.

传统史观常秉持“中原中心论”，将华夏之外的族群多视为模糊的“蛮夷”。而这件器物，以其粗犷而充满生命动感的“兽斗纹”，将我们拉至一个不同的认知维度：在华夏诸侯争霸的同时，北方草原地带已孕育出拥有高度发达青铜工艺、独特审美体系与强悍精神气质的游牧文明。它是一件“非文献”的史料，是司马迁未能尽书的《匈奴列传》的生动注脚，迫使我们采用“二重证据法”，将实物与《左传》《史记》中“戎狄”的零星记载相互参证。

Traditional views of history used to hold a “Central Plains centrism”, where non-Huaxia ethnic groups were vaguely defined as “barbarians”. Yet this cultural relic, with its rough but dynamic “beast-combating motif”, brings us into a different perspective on history: While the feudal states of the Central Plains were fighting for hegemony, the northern grassland region had already nurtured a nomadic civilization characterized by a set of highly advanced bronze-casting techniques, a distinctively aesthetic mechanism, and a formidable disposition. This cultural relic is a “non-documentary” historical source, a vivid footnote to that part of history that great historian Sima Qian failed to write in “Biographies of the Xiongnu”. Thus, we are compelled to adopt the “Method of Dual Evidence”, cross-referencing the physical object with scattered records of the Rong people and the Di people which were found in such texts as the Mr. Zuo’s Spring and Autumn Annals (Zuo Zhuan) and the Records of the Grand Historian.

这件文物的出土，雄辩地证明了早在春秋战国时期，活跃于此的西戎、匈奴等游牧部落，已经拥有了高度发达的青铜铸造技术和独特的艺术体系。它既受到了来自鄂尔多斯草原乃至更遥远的斯基泰文化的影响，也蕴含着本土的创造，是古代中国多元一体格局形成过程中的重要物证。

The excavation of this cultural relic provides incontrovertible proof that as early as the Spring and Autumn Period and the Warring States Period, nomadic tribes such as the Xirong and the Xiongnu, who were active in this region, had already developed highly sophisticated bronze-casting techniques and a unique artistic system. Influenced by cultures from the Ordos grassland and even the distant Scythian culture, it also showcases indigenous creation, standing out as important material evidence for the formation of the pluralistic, integrated pattern of ancient China.

它提醒我们，历史绝非单一线条的演进。春秋战国的宏大叙事，不仅是诸子的哲思与列国的兼并，亦是草原上骏马奔驰、虎噬鹿的嘶鸣。这枚带饰，正是我们移换史观、从边疆理解中心、从而构建一幅更完整、更复杂的中华文明形成图景的关键锁钥。

This reminds us that history is by no means a simple linear evolution. The grand narrative of the Spring and Autumn and Warring States periods is not merely about the philosophical reflections of all those thinkers and the annexation of the warring states, but also about the galloping of horses and the roaring of tigers devouring deer on the grasslands. This belt ornament is precisely the key that allows us to shift our historical perspective,—to understand the center from the periphery of our country,—thereby portraying a more complete and more complex picture of the formation of Chinese civilization.

动物纹金扣饰

2.Gold Buckles Ornaments with Animal Motifs

(Picture: The Gold Buckle Ornament with Animal Motifs)

图片中呈现的文物是春秋战国时期的动物纹金扣饰，虽不大，却凝练着北方游牧文明与中原技艺交融的深邃意象。金环之上，二虎噬鹿的场面被巧妙构图为两组对称的盘曲纹样：虎口紧锁鹿颈，獠牙森然如刃；鹿眼圆睁，瞳孔以细密錾点勾勒出惊惧之色，后肢奋力抵住虎背，蹄爪肌肉紧绷——动态的挣扎与静态的金属凝固成一种永恒的张力，仿佛将草原生存法则浓缩于方寸之间。

The cultural relic shown in the picture is a gold buckle ornament with animal motifs from the Spring and Autumn Period or the Warring States Period. Though small in size, it exhibits a profound image created through the fusion of northern nomadic civilization and Central Plains craftsmanship. On the gold buckle, the scene of two tigers devouring a deer is ingeniously composed into two symmetrical, coiling patterns: The tigers’ jaws lock tightly onto the deer’s neck, fangs stretching out like sharp blades; the deer’s eyes are wide open, its pupils outlined with fine chiseled dots capturing an expression of terror, its hind legs desperately pushing against the tigers’ backs, the muscles of its hooves looking taut—the dynamic struggle and the static metal are frozen into an eternal tension, as if to condense the Law of Survival on the grassland into a tiny size.

其工艺堪称微雕与金工之典范。锤揲技法使虎鹿躯体隆起于器表，形成近乎浮雕的立体效果，而鹿角与虎尾则以流畅的涡纹盘绕填充空间，既平衡构图，又暗合游牧民族对自然循环的崇拜。尤为精妙的是，鹿身錾刻的卷云纹与虎斑的鳞状纹饰，揭示出鄂尔多斯风格与中原青铜纹样的融合轨迹。

This craftsmanship can be regarded as a perfect example of micro-carving and goldwork. The hammering-pressing technique raises the bodies of the tiger and the deer above the surface, creating a relief-like three-dimensional effect, while the antlers of the deer and the tails of the tigers are filled with smooth spiraling patterns that both balance the composition and subtly reflect the nomadic people’s worship of natural cycles. What is particularly ingenious is the way the cloud-scroll patterns on the deer’s body and the scale-like patterns on the tiger’s stripes reveal a trajectory of fusion of the Ordos style and Central Plains bronze ornamentation.

这件扣饰出土于宁夏固原，地处农牧文明交错带，很可能是部落首领衣袍上的礼器。虎鹿相争的主题超越单纯装饰，或隐喻部族征伐与自然法则，抑或是萨满信仰中生死转化的视觉叙事。黄金材质不仅彰显权力，更折射出草原民族对永恒性的追求——当生命终将消逝于荒原，金石却能凝固搏杀的瞬间，使之成为穿越时空的图腾。

Excavated in Guyuan, Ningxia, a region at the intersection of agricultural and pastoral civilizations, this buckle was likely used as a ceremonial ornament on the robe of a tribal chief. The theme of tigers contending with deer transcends simple decoration: It metaphorically represents tribal warfare and the laws of nature, or serves as a visual narrative of lifedeath transformation in shamanistic beliefs. The gold material not only signifies power but also reflects the steppe nomads’ pursuit of eternity. While life inevitably perishes in the wilderness, metal and stone can freeze the moment of a combat and transform it into a totem which spans time and space.

今日静观此物，犹闻风沙之中虎啸鹿鸣。它既是游牧者勇悍美学的结晶，亦是文明碰撞时绽放出的金属火花。在虎鹿交颈噬咬的形态下，藏着一段未被史册尽录的边疆史诗。

Viewing this cultural relic today, one seems to hear the tiger’s roar and the deer’s cry in sandstorm against the wind. It is both the embodiment of the beauty of nomadic warriors’ strength and courage and the metallic spark bursting forth at the collision of civilizations. Beneath the tiger and the deer in a combat is hidden a frontier epic that the annals have not yet fully recorded.

子母豹透雕铜扣饰

3. The “Mother Leopard and Her Cub” Openwork Bronze Buckle

(Picture: The “Mother Leopard and Her Cub” Openwork Bronze Buckle)

子母豹透雕铜扣饰于1982年在宁夏固原县杨郎乡大北山出土，现在被宁夏固原博物馆收藏，据考古发现，该文物存在于春秋战国时期，这件扣饰长5.3厘米，宽5.3厘米，虽体量不大，却可以体现出子母豹之间的亲昵姿态，表现母子相亲，形象生动传神，对于研究春秋战国时期工艺水平具有重要意义。

Excavated in 1982 at Mount Dabeishan in Yanglang Township of Guyuan, Ningxia, the “Mother Leopard and Her Cub” Openwork Bronze Buckle is now housed in the the Guyuan Museum of Ningxia. Archaeological findings date it to the Spring and Autumn Period and the Warring States Period. Measuring 5.3 cm in length and 5.3 cm in width, this buckle is modest in size, yet it vividly captures the affectionate postures of a mother leopard and her cub, depicting maternal love of the mother leopard to her cub. Therefore, it holds a significance for studying the craftsmanship of the Spring and Autumn Period and the Warring States Period.

该文物通体是以青铜铸造，采用透雕的工艺勾勒轮廓，除此之外，部分区域采用了镂空技术，可见，当时工匠的工艺水平之高。从整体上看，其主体造型为一对紧紧相依的子母豹：大小两豹相对互抱，母豹弓背屈肢卷尾，前后足相叠，前额紧贴幼豹的下颚；幼豹则紧紧地蜷缩在母豹怀中，小脑袋微微抬起。彰显了自然界当中生命的奇迹与亲情的温暖，反映出古人对于自然生灵的敬畏之心，生动形象地体现了自然生灵的日常生活。