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缘起上个世纪八九十年代,随着古巴蜀地区带有“天门”榜题的东汉石棺与铜饰牌画像的陆续发现,汉代墓葬艺术中用以象征天国仙境之门的“天门”主题很快引起了学术界的广泛关注。在现有的各种论著中,涉及这类“天门”图像以及相关观念与信仰的讨论已不在少数,其中自然不乏精辟的见解。但笔者同时也注意到,直到目前为止,还不断有学者反复宣称“天门”是巴蜀地区特有的一种观念或信仰,甚至认为马王堆帛画中表现的天门就是受到巴蜀文化的影响云云。~([1])由于这个问题涉及对整个汉代墓葬艺术中的一种图像母题的理解,笔者感到很有商
From the eighties and nineties of last century, with the discovery of the portraits of the Eastern Han Dynasty sarcophagus and bronze ornaments with the “Tian Men” list in the Shu area of Cuba, the “Heavenly Gate ”Theme quickly aroused widespread concern in academia. There is no shortage of discussions on these “heavenly” images and related concepts and beliefs among the various existing works, among which there is no shortage of insightful insights. However, at the same time, the author also noticed that until now, some scholars have repeatedly claimed that “Tianmen” is a kind of concept or belief peculiar to Bashu region. They even think Tianmen, represented in the painting of Mawangdui, is influenced by Bashu culture . ~ ([1]) Since this question involves the understanding of an image motif in the art of tombs throughout the Han Dynasty,