本文藉由地域網絡的視角考察山西太原隋代開皇十二年（592）虞弘墓，其中可見以晉陽為中心的北鎮武人墓葬文化網絡，以及以定州為中心的佛教白玉像製作網絡。虞弘曾仕於北齊，因出自楊堅的丞相府而被委與重任，持續保有山西中北部的武力。虞弘墓石槨出現嶄新的多層結構，石堂、石牀、石獅座墊被統合成新的綜合體。石獅頭座墊與鸚鵡母題均顯示出與晉陽北鎮武人文化的密切關係。北朝晚期至隋代密集出現白玉葬具、白玉俑的現象，與同時期佛教物質文化的新發展密切相關。白玉具有光潔、明亮的特質，可引發感應並顯現各種神通的樣態。石槨採白玉雕製既是身分地位的象徵，還具有感應與放光的宗教意涵，與其圖像與裝飾共同塑造出虞弘勇敢而高貴的武人形象。

The present article examines the tomb of Yu Hong 虞弘 (533-592) in Taiyuan, Shanxi province, dating to the twelfth year of the reign of Emperor Wen of Sui (592) through a perspective of regional networks, exploring its underlying political, religious, and cultural factors to apprehend a more detailed shape of the cultural exchanges between China and regions to the west from the late Northern Dynasties to the Sui dynasty. The sarcophagus is a new amalgamation of a stone hall, a stone bed, and a stone base with lion heads. The form of the stone base with lion heads was adopted from the stone guardian lions of tomb doors, which had been adapted for use in the tombs of soldiers at the northern garrisons in Jinyang. The lotus and parrot motifs, the latter of which not only is an auspicious bird but also serves the function of a tomb guardian, are both inherited from the burial culture of the Pingcheng period of the Northern Wei dynasty. The sarcophagus is carved from white marble, a certain symbol of status as well as brimming with the Buddhist connotations of resonance and the emission of light. The discovered white marble figurines of musicians are a continuation of the style of Jinyang ceramic figurines and represent the ideal physique of the northern garrison soldiers. The concentrated appearance of white marble burial objects and figurines from the late Northern Dynasties to the Sui is closely related to the development of Buddhist material culture at the time. White marble, with its clean and lustrous qualities, was regarded as a material that could readily evoke a sense of resonance.

虞弘墓; 粟特人; 石槨; 鸚鵡; 白玉; 地域網絡

tomb of Yu Hong; Sogdians; sarcophagus; parrots; white marble; regional networks