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1952年,望都一号汉墓前室和甬道壁面上发现有较为完好的壁画和榜题,该墓壁画布局严谨有序,体现出设计者独特的理念和多方面的考虑。根据内容和位置,大致可以将壁画分为属吏、祥瑞、仙界三类。属吏图像分为五组,按照地位、亲疏和职责有序排列,既反映了汉代郡国行政架构,又昭示出墓主位至三公的显赫地位,还隐晦地展现了墓主的勤勉工作和人们对他的爱戴。祥瑞图像借上天的名义褒奖墓主的德行、墓主妻子的哀思、宾客的虔诚,尤其注重表彰墓主后人的孝心,实际上是生者意愿的集中体现。仙界图像除了表现出汉代社会较为主流的升仙企盼外,还与勉劳谢吏、白事吏共同构成一个显示墓主存在的特殊空间,与这一时期出现的其他墓主画像有异曲同工之处。总体来看,这三种题材根据东汉的宇宙观念、墓室的不同功能被布置在不同的壁面上,构成一个完整而丰富的墓室世界。
In 1952, there were relatively perfect murals and tops on the front chambers and corridors of Wangtu Han dynasty. The tomb murals were arranged in a rigorous and orderly manner, reflecting the designers’ unique ideas and various considerations. According to the content and location, murals can be roughly divided into officials, Auspicious, Xianjie three categories. The images of the officials are divided into five groups, which are arranged in an orderly manner according to their status, affinity and responsibility. They not only reflect the administrative structure of the county government of the Han Dynasty, but also show the prominent position of the tomb owner to the third public, and implicitly display the diligent work of the tomb owner People love him. The auspicious images praising the virtues of the tomb masters, the mourning of the tomb masters and the pious guests, and paying particular attention to the filial piety of the tomb masters, are actually the embodiment of the will of the living people. In addition to showing the more mainstream immortals in the Han society, the celestial community image, together with the gratitude officials and the white matter officials, formed a special space to show the existence of the tomb masters, similar to the images of other tomb masters appearing in this period . Overall, these three themes are based on the concept of the universe in Eastern Han Dynasty. The different functions of the tomb room are arranged on different walls to form a complete and rich world of tomb room.