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近年来,套用“升仙”概念进行阐释在汉代墓葬美术研究中十分盛行。然而如果了解汉人的生死观念,就会明白其中的不当之处。汉人普遍留恋生,“升仙”是生人不朽的一种形式,与“死亡”是截然不同的两条道路。即便有“尸解”观念从中调和,也未能根本影响汉代的墓葬营造。当死亡不可避免时,人们相信在地下世界里仍能如世间一般生活,而墓葬就是死者的永恒家宅。既然不存在死后升仙的观念,墓葬中当然也不会有为此设计、准备的图像与物品。汉代墓葬美术中确实存在仙境图像,但那是汉人宇宙观的一部分,而非对墓主死后归宿的指示。所谓与“墓主升仙”有关的墓葬美术,完全可以从其他角度获得圆满解释。图像解读有赖于对文献的掌握、理解。
In recent years, applying the concept of “raising cents” is very popular in the study of tombs and graves in the Han Dynasty. However, if you understand Han’s concept of life and death, you will understand the inadequacies. Han people generally love the students, “Shengxian” is a form of immortality, and “death” is a very different two roads. Even if the concept of “autopsy” is reconciled, it can not fundamentally affect the burial of the Han Dynasty. When death is unavoidable, people believe that they will still be able to live as if in the underground world, while the tombs will be the eternal house of the dead. Since there is no concept of the ascended life after death, there are of course no images or articles designed or prepared for this purpose. Images of Wonderland did exist in the art of the Han Dynasty tombs, but that was part of the Chinese cosmology rather than an indication of the death of the owner. The so-called “cemetery” with the “cemetery” cemetery art, can be satisfactorily explained from other angles. Image interpretation depends on the grasp of the literature, understanding.