“汉画研究”从广义而言,其对象包括所有汉代遗留至今的图像资料;而从更为确切的狭义角度,则指汉墓及其他遗迹中出土的画像石、画像砖、壁画、帛画等材料。作为小中国古代艺术史研究的基础领域之一,汉画研究的深入对客观认识中国古代艺术的发展脉络,以及物质文化、思想观念的演进轨迹都有着重要意义但不同于后世卷轴画独立存在的形式,绝大多数汉画并无明确的作者、作品名称等信息标示,且皆依附于所属墓葬、祠阙等建筑物的结构之上,构成一种具有复杂“形·相”关系的艺术语言。“形”指研究图像的形态与样貌,“相”指图像与图像之 In the broad sense, its objects include all the image data left over from the Han dynasty to the present; while from a more specific narrow perspective, it refers to the portraits of stone figurines, portrait bricks, murals, Silk painting and other materials. As one of the basic fields of the study of ancient Chinese art history, the study of Han painting has profound significance for the objective understanding of the development context of ancient Chinese art, as well as the evolution of material culture and ideological concepts, but is different from the independent existence of later scroll drawings Form, the vast majority of Chinese painting has no clear author, name of the work and other information labels, and are attached to the structure of the tombs, temples and other buildings, constitute a complex “phase” relationship Art language. “Shape ” refers to the research image morphology and appearance, “Phase ” refers to images and images