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引 言 迄今为止,中国境内共有五个地点发现了处于墓葬中的帛画:长沙,江陵,广州,武威,临沂一带。众所周知,在所有的二十余幅帛画中,马王堆一号汉墓帛画由于形制完备,内容丰富,画面精美和完好的保存而成为最重要的一幅。同时。它也是其中疑点最多,争论最大的一幅。自它出土二十余年来,海内外大量专家著文研究论争,有关它的叙述超过了其它帛画的总和。似乎是解释了它的疑点其它帛画的疑问也就释然了。但遗憾的是,对于这幅帛画的内涵及功用,至今学术界也无定论,各执一词,众说纷纭。学者们一般的研究方法是,依据异常丰富的古文献记载来逐一释读帛画中纷繁的个体形象,并以此为依据试图阐释其主题思想。这样做无疑会有一种“看图说画”式的趣味性(更有古文研究者用帛画中的形象来诠释典籍),但它同时也是危险的。因为帛画里总会有这几个或那几个具体形象或组合不能完全看作是对典籍的直接图解,这需要考虑到当时当地丧葬制度本身的具体化要求(甚至是死者家属的具体要求),并且还需把它们放置于装饰图案的上下文中。
Introduction So far, five paintings of tombs in tombs have been found in five places in China: Changsha, Jiangling, Guangzhou, Wuwei and Linyi. As we all know, in all of the more than twenty paintings, the Mawangdui Han tombs are the most important pieces due to their well-formed, rich content, exquisite picture and sound preservation. Simultaneously. It is also one of the most doubts, the most controversial one. Since it was unearthed for more than 20 years, a large number of experts at home and abroad have written dissertations and the narration of it exceeds that of other silk paintings. Seems to explain its doubt Other silk paintings doubt also relieved. However, unfortunately, the connotation and function of this painting have so far been inconclusive in academic circles. The general research method of scholars is to interpret the numerous individual images in silk painting based on the unusually rich records of ancient literature and try to explain their theme. This will undoubtedly have a kind of “pictorial” style of taste (more of the ancient researchers use the image of silk painting to interpret the classics), but it is also dangerous. Because there are always a few or more specific images or combinations in a silk painting that can not be completely regarded as a direct illustration of the classics, it is necessary to take into account the specific requirements of the local funeral system itself (even the specific requirements of the families of the deceased) , And still have to place them in the context of decorative patterns.