摘要
楚国腹地江汉平原、南疆长沙和东海之滨战国两汉时期墓葬出土的覆棺帛画都应有着同一主题——墓主之像。并且,从战国中期的《人物龙凤帛画》和《人物御龙帛画》,到西汉前期的马王堆汉墓T形帛画,再到西汉中期的金雀山汉墓帛画,覆棺帛画经历了墓主之像主题的确立、墓主之像的多空间展现和墓主之像主题模糊化的变化过程,并在东汉前期被以文字书写墓主信息的铭旌所取代。此外,虽然覆棺帛画是楚人为与死亡相关的招魂仪式和死者魂灵所作,但从一开始它就不只是关乎死亡,而与楚地升天成仙信仰相关联。覆棺帛画虽不是最早的墓主之像,但却是最早的表现墓主性别、年龄和身份地位等个人信息的“写实性”墓主之像。
In the Chu′s hinterland Jianghan Plain,Changsha and the coast of the East China Sea,coffin-covering paintings from the Chu and Han Tombs should have the same theme which is the portrait of the tomb owner.Moreover,from the middle Warring States period of the"Character Dragon and Phoenix silk painting"and"Character Riding the Dragon silk painting",to the early Western Han Dynasty of Mawangdui tomb T-shaped silk painting,and then to the middle Western Han Dynasty of Jinquishan tomb,these silk paintings have experienced three stages of change,from the establishment of the theme of the tomb master's image,multi-space display and the tomb master's image theme blurred change process.And eventually in the early Eastern Han Dynasty,it was replaced by Mingjing that wrote information about the tomb owner.Although the coffin-covering painting is an artificial evocation ritual and the spirits of the dead associated with death in Chu,it was not only about death from the beginning,but was associated with the belief that the Earth ascended to the heavens.It is not the earliest portrait of the owner of the tomb,but it is the earliest“Realistic”portrait of the owner of the tomb,which shows the owner's personal information such as gender,age and status.
出处
《南方文物》
CSSCI
北大核心
2024年第5期133-143,共11页
Cultural Relics in Southern China
基金
湖南省社会科学基金一般项目“楚地覆棺帛画的资料整理与研究”,项目编号:23YBA362。
关键词
覆棺帛画
墓主之像
铭旌
招魂仪式
升天成仙信仰
coffin-covering painting
portrait of the Tomb owner
Mingjing
evocation ceremony
ascension intotheimmortal belief
