一多年以来,画像石、画像砖一类文物已成为当代人研究古代社会生活、生产以及民俗的重要实物依据。这当然是一条行之有效的研究途径。卡西尔说:“宗教艺术与神话想象给予我们一个远远超出我们人类经验范围的超验世界的诺言和希望,而它本身却始终停留在人间,而且是太人间化了”(《人论》)。从这一角度看问题,应该承认,墓葬中的艺术世界正是现实生活的“加工”、“变形”或“直接反映”。然而,人类思维的发展客观上存在着阶 For many years, the artifacts such as the portrait stone and the portrait brick have become the important material basis for the contemporary people to study the ancient social life, production and folk customs. This is of course an effective way of studying. Cassirer said: “Religious art and mythological imagination give us a promise and hope far beyond the transcendental world of our human experience, and yet remain perpetually human and human.” “). From this perspective, we should admit that the art world in tombs is the ”processing“, ”distortion“ or ”direct reflection" of real life. However, the development of human thinking there is an objective objective