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四神星象图在汉代作为当时天文学成就的记录的同时,更包含了一种象征性的互文性结构,自然、社会历史和人伦也被放到这一宇宙的结构图式中来。汉画中的四神星象图几乎都出于墓室,不可能只是为了直观反映天文现象,更主要的是为了使死者在冥界享受快乐、步入仙界,同时使生者得到庇护,保佑子孙平安昌盛。汉代人往往把“天象”的变化归纳到“人事”方面,从中再衍化出各种“禳解”的方式方法。汉画中出现的四神星象符号便充分表明了“天象”在汉代人的社会意识中有着不同寻常的地位,四神也因其作为星象符号的代表而丰富了其图像的文化内涵
While recorded as a record of astronomical achievement in the Han Dynasty, the image of God and God also contains a symbolic structure of intertextuality in which the natural, social history and human relations are also put into the structural schema of the universe. Almost all of the gods in the Han Dynasty pictorial figure out of the tomb, it is impossible to just reflect the astronomical phenomena intuitively, but more important is to make the deceased enjoy the happiness in the underworld, into the celestial community, while giving birth to the asylum, bless the prosperity of children and grandchildren . The Han people often summarized the changes of “astronomical phenomena” to “human resources ”, and then derived various ways and means of “solution”. The signs of the gods and gods in the Han paintings fully demonstrate that the “Astronomical Phenomena” has an unusual position in the social consciousness of the Han Dynasty people. The Four Gods enriched the cultural connotations of the images because of their astrological signs