摘要
一九五七年洛阳市老城西北发掘了一群古墓,凡一百八十余座。就中有一座汉墓有壁画及透雕花砖多种,今分别就其画面与花纹内容,探索其意义。一、"二桃杀三士"画面墓中隔墙(前室西面)横梁上有画,高二五厘米,长二○六厘米。
In 1957,a Han tomb was excavated northwest of the Old City of Loyang,yielding some wall paintings and a great variety of tomb bricks bearing openwork decorations.In the present article,the author tries to describe the designs found in the paintings and discusses their meanings.The crossbeam at the centre of the tomb chamber is decorated with scenes depicting the story of'killing three warriors with the gift of two peaches'related in the Yen Tzu Ch'un Ch'iu(晏子春秋).All together,there are eleven people in the design which is divided into three groups.The group on the right shows three warriors representing from left to right T'ien K'ai-chiang,Kungsun Chieh and Ku Yeh-tzu.On the table at the centre is a plate which holds two peaches.The central group shows five people,the large central figure representing Duke Chingof the State of Ch'i and the other four representing his attendants.The group on the left shows three people with the shortest one representing Yen Ying.The back wall of the chamber is decorated with scenes depicting the story of the Banquet at Hungmen.On the right side of the design a man is shown broiling a joint of beef on a stove while another man with a staff stands by watching.The wall at the back of the people is hung with joints of beef and an ox head.To the left of the stove two men are shown seating on the floor and drinking.The one holding a drinking horn probably represents Hsiang Yu while the other who is moreelegant in appearence represents Liu Pang.The man standing by the side of Liu Pang represents Hsiang Po.A huge seated tiger to the left of Liu Pang is actually a design painted on a door.Two men standing with folded hands to the left of the tiger design represent respectively Chang Liang and Fan Tseng.A fierce-looking man with a sword in the hand who is about to stab Liu Pang represents Hsiang Chuang.The space above the lintel on the inside of the tomb gate is dominated by the modelled figure of a ram's head,a symbol of good fortune.The painting to the left of the ram's head shows a peach tree with red blossoms and is a flying swallow.Under the tree is a sad-looking woman with long loose hair which curls around the trunk of the tree.A winged tiger,its right fore paw landed on the head of the woman,is shown gnawing her left shoulder.This design is probablyinspired by the story of'an oppressive government worse than the tiger'related in the T'an Kung chapter of the Li Chi(Record of Rites).Above the painted crossbeam at the centre of the chamber are three carved bricks bearing painted openwork decorations.The central brick,rectangular in shape,is decorated with symbols of the four cardinal points—blue dragon,white tiger,red bird,serpent and turtoise—and the bear,leopard and mokey.The central part of the design shows a man and a woman,each holding a pi-disc in the hand.The whole design is probably meant to represent the universe and this explains thepresence of the symbols of the four cardinal points and of the cosmological forces of yin and yang,as well as birds and beasts.Flanking the central brick is a pair of triangular bricks decorated from top to bottom with identical but confronting designs of winged deer,a bear and a wolf fighting for a pi-disc,and a man chasing after a galloping horse.The back side of the same space is also occupied by three carved bricks with openwork decorations.The contral one which is rectangular inshape is decorated from bottom to top with a pair of doors bearing t'ao t'ieh rings,a latticework window with horizontally placed diamond designs,and five pi-discs.The pair of flanking triangular bricks are each decorated with the design of a man riding a winged dragon.The ceiling of the chamber,composed of twelve pieces of bricks,is painted with the sun,moon and stars.The fact that day and night are each represented by six of these bricks seems to suggest that the system of dividing the day into twelve time periods which was not known in the first half of the Western Han Dynasty had already been adopted.The use of the three stories mentioned above as themes for the wall painting was probably due to the desire to draw some lessons from the past for contemporary conditions.The designs on the carved bricks are permeated with the idealist thoughts of the Taoist who sought to avoid the disasters of a troubled world by becoming immortals.Undoubtedly,the occupants of the tomb were members ot fhe landlord class who were most afraid of disorder and turbulence,i.e.class struggles of a most violent kind.
出处
《考古学报》
1964年第2期1-7,共7页
Acta Archaeologica Sinica
