非衣与招魂——马王堆、敦煌、吐鲁番及丝路沿线墓葬文化关系研究

发布时间：2018-07-11 14:03

本文选题：马王堆汉墓 + T形帛画　；参考：《南京艺术学院学报(美术与设计)》2017年03期

【摘要】：马王堆汉墓出土的T形帛画,以其样式独特、图像神秘而颇受学术界关注。T形帛画的名称和功能一直是学者们争讼不已的两大主题。本文基于T形帛画图像本身,结合考古资料、丧葬礼仪、宗教意识和民俗文化背景,认为非衣图像叙事空间主要由冥都和仙界构成,而不是地下、人间和天界;非衣反映了鬼神信仰,铭旌源于儒家文化,二者之间虽有联系,但并不混同;非衣在丧葬礼仪中被视为亡魂栖息物,起着招魂、引魂入棺与圹的作用。但铭旌意在标识死者身份、名讳。在墓室空间,非衣正面向下,服务于亡灵,充任亡灵转生神仙的程序示意图,而铭旌正面向上,不具备此功能。非衣类图像首现于湖南楚墓,在丝绸之路沿线许多地区广泛传播,经由敦煌而止于吐鲁番,清晰地呈现了不同地域的丧葬文化传播演化的脉络与相互之间的关系。
[Abstract]:T-shaped silk paintings unearthed from the tomb of Mawangdui Han Dynasty have attracted much attention from academic circles for their unique style and mysterious images. The names and functions of T-shaped silk paintings have always been two major themes of controversy among scholars. Based on the images of T-shaped silk paintings, combined with archaeological materials, funeral rites, religious consciousness and folk cultural background, this paper holds that the narrative space of non-clothed images is mainly composed of the Ming du and the Immortals, not the underground, the human and the heavenly. Non-clothing reflects the belief of ghosts and gods, and the inscription originates from the Confucian culture. Although there is a connection between the two, they are not mixed with each other. In funeral rites, non-clothing is regarded as the perch of the dead soul, which plays the role of evoking the soul, leading the soul into the coffin and Xieng Kuang. But the inscription is intended to identify the identity of the deceased, the name taboo. In the tomb space, the unclothed face down, serves the dead, acts as the dead reincarnation immortal program diagram, but the inscription positive upward, does not have this function. The image of non-clothing was first seen in the Chu Tomb of Hunan Province, widely spread in many areas along the Silk Road, and ended in Turpan through Dunhuang. It clearly showed the relationship between the evolution of funeral culture in different regions and the relationship between them.
【作者单位】：昌吉学院美术系;
【分类号】：K879.49;K892.22

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