根據歷史文獻，越南南部以及柬埔寨南部的鄰近地區，被認為是東南亞第一個國家，扶南（Funan）王朝的領地。自二十世紀初起，隨著考古的發現和挖掘，出土了大量的物件，包括當地的重要印度教藝術作品。在這些考古發現的基礎之上，本文是作者針對有關印度教物件上幾種類型的圖像特徵的課題所提出的精簡論文，特別將焦點置於近年來在越南南部所出土的物件上。本文的分析的基礎並不僅止於雕塑的作品，還包括其他小尺寸的物件，特別是在寺廟遺址所挖掘出土的黃金飾板上。藉由在類型學、物質使用、鑄造技術、以及發展過程等各個方面的豐富證據，其清楚地顯示了在越南南部的印度教神廟充滿著眾多的神祇。反映了其對於來自印度傳統上對藝術以及宗教儀軌的禮讚、模仿與吸收。與此同時，在地的傳統亦被保留並且被用來創造屬於他們自己的藝術風格。這個現象對東南亞的其他鄰近地區造成影響。此地的印度教藝術的歷史和圖像學密切地反映了印度和東南亞之間的文化交流。

According to historical documentation, southern Vietnam and the adjacent areas of southern Cambodia were, in the past, considered to be the domain of the Funan Empire, the first state in Southeast Asia. Since the early 20th century, archaeological discoveries have brought to light a large number of artifacts, including important Hindu works of art, in this area. Based on these discoveries, the author offers a brief treatise on the iconic features of several types of Hindu artifacts. Particular attention will be placed on artifacts recently discovered in southern Vietnam. This analysis is based not only on sculptures, but also on smaller artifacts, with special focus on collections of gold plaques discovered during temple digs. Due to the typological richness, materials used, construction skill and developmental processes demonstrated by the artifacts found during these digs, it is clear that the Hindu pantheon in southern Vietnam was abundant with gods and goddesses, and this reflects the admiration, imitation and absorption of art and religious practices from Indian traditions. At the same time, local traditions were preserved and exploited to create an individual art style. This also had an impact on neighboring countries in Southeast Asia. The history of Hindu art and iconography in this area closely reflects the cultural communications and exchanges between the peoples of India and Southeast Asia.

印度教圖像學; 黃金飾板; 寺廟遺址; 雕塑; Óc Eo文化; 扶南文化交流

Hindu iconography; gold plaque; temple deposit; sculpture; Óc Eo culture; Funan; cultural exchange