摘要
汉代重孝、重丧葬,讲求“事死如事生”,这种厚葬重孝风气的直接产品就是汉代画像石。画像石虽为墓葬的艺术,反映的却是生者对已逝之人的最高崇敬,而祭祀场所的选取设立及相关的礼仪制度所表达的则是对先祖的最大尊敬。在这种意识下,于墓室和礼祭场所中出现的画像便不仅是单纯的装饰意义,而是经过建造者严格的取舍后所保留的能够表达集体认知和个人认知的典型性作品。文章对武梁祠“列女”主题画像进行剖析,通过图像与文本之间的对比,辨析两汉文化视域下女性的道德规范和贞洁观念的流变。
The Han Dynasty attached great importance to filial piety and funeral,emphasizing“death is like life”.The direct product of this kind of thick funeral and filial piety atmosphere was the portrait stone of the Han Dynasty.Although the portrait stone is the art of tombs,it reflects the highest respect of the living for the dead.The selection and establishment of sacrificial sites and related etiquette systems express the greatest respect for the ancestors.In this sense,the portraits in the tombs and ritual places are not only simple decorative significance,but also typical works that can express collective cognition and personal cognition after strict choices by the builders.This paper analyzes the theme portrait of the“virtuous women”in Wuliang Temple,and analyzes the evolution of women’s moral norms and chastity concept from the perspective of Han culture through the comparison between image and text.
作者
马国贤
王卫东
MA Guo-xian;WANG Wei-dong(Yunnan University,Kunming 650091,China)
出处
《哈尔滨学院学报》
2021年第9期101-104,共4页
Journal of Harbin University
关键词
武梁祠
“列女”画像
《列女传》
汉代贞节观
Wuliang Temple
the portrait of virtuous women
“Biography of Women”
the concept of chastity in Han Dynasty
