摘要
本文研究对象是一套北魏石棺床围屏上的孝子叙事图像。围屏现藏于美国密苏里州堪萨斯城纳尔逊-阿特金斯艺术博物馆。长广敏雄、黑田彰以及林圣智等学者曾就围屏组合方式、孝子图像内容等问题进行过详细讨论。尽管如此,围屏中几幅孝子图像的内容仍然存在争议,这影响到对围屏图像整体意义的理解。作者通过实地考察围屏及其图像,首先纠正了之前学者在围屏组合问题上的疏误,进而对存在争议的几幅图像内容重新作出判定。在此基础上,作者比较了孝子故事在围屏上的次序与它们在日本藏阳明文库本六朝《孝子传》中的顺序,发现孝子图像并不完全遵从文献中的顺序,而是按照"事生""事死"原则重新组合;并推测这种重组很可能体现了墓葬设计中的阴阳观念,即以"事生"图像象征阳气,"事死"图像象征阴气,最终目标是调和阴阳、求得冥福。
This article studies a set of screens with illustrations of filial-son stories from a Northern Wei stone funerary couch.The screens are preserved at the Nelson-Atkins Museum of Art in Kansas City,Missouri(USA).Nagahiro Toshio,Kuroda Akira,and Lin Sheng-chih have made extensive discussions on the reconstruction of the screens and the iconography of the filial-son illustrations.However,the subjects of some of the illustrations are still debated,which impedes our understanding of the meanings of the images as an interconnected whole.Based on observation of the screens and illustrations in person,the author corrects the mistakes scholars have made in reconstructing the screens and thus re-interprets the iconography of some of the illustrations.In so doing,the author further compares the sequence of the illustrations on the screens with that of the corresponding stories in the Six Dynasties version of Accounts of Filial Offspring in Yume Bunko in Japan.This comparison leads to the discovery that the pictorial sequence of filial son stories does not precisely follow the textual one;it is instead rearranged according to the principles of"serving the living"and"attending the dead".The motivation for such rearrangement,the author speculates,was to harmonize the yin and yang forces and seek fortune for the dead in the afterlife.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2019年第10期92-107,共16页
Journal of National Museum of China
关键词
纳尔逊博物馆
北魏孝子石棺床
孝子传
图像次序
阴阳观念
Nelson-Atkins Museum of Art
Northern Wei stone funerary couch
Accounts of Filial Offspring
sequence of illustrations
yin and yang
