摘要
本文主要就北魏墓室所见孝子画像与“东园”及“东园秘器”的关系作了探究。“东园”是北魏沿袭汉晋传统设立的专司皇室及贵族丧葬事宜的最高机构,由其制作的秘器称“东园秘器”,北魏时期对之多有赏赐,见诸文献者共计36件。“东园”对平城与洛阳两地的丧葬观念及葬具制作具有重要影响。司马金龙漆围屏是平城“东园”的遗物,元谧石棺、洛阳古代艺术馆藏升仙石棺为洛地“东园”的遗品,宁懋石室、固原漆棺的制作与图像刻画则受到了“东园”的影响,卢氏石围屏及其他几件刻画有孝子图的葬具也可能出自“东园”或与之存在联系。“东园”在北魏迁洛后续纳晋及南朝早期绘画传统,同时融汇部分佛教与袄教内容,在平城“东园”传统的基础上发展出包蕴多种文化因素的葬具图像,其中既有传统的升仙题材,也有儒家的孝子及佛教的摩尼宝珠等。在众多画像题材中,孝子仅为其中的一部分,它或者相对独立,或者与其他画像组合,形成两种不同的图像形式,且并不因墓主身份的贵贱而有高下之别或专属某一社会阶层。
This article examines the relationship between images of filial sons found in tombs of the Northern Wei dynasty and the articles produced for tombs by the Eastern Garden.In the Northern Wei dynasty,the Eastern Garden(Dongyuan)was the highest government agency handling funerals of the royal family and the aristocracy and the institution and its traditions were inherited from the Han and 3in dynasties.Vessels produced by the Eastern Garden were called‘Dongyuan rniqi’(meaning,‘esoteric objects of the Eastern Garden’)and,during the Northern Wei,a total of 36 of these vessels were bestowed.The Eastern Garden exerted a major influence on burial concepts and on the production of funerary wares in the areas of the former and latter capitals of the Northern Wei,Pingcheng and Luoyang.This can be seen from a number of examples of such objects that are now extant.The lacquer screen from the tomb of Sima Jinlong was produced by the Eastern Garden of the Daibei district,the environs of Pingcheng,while the stone coffin of Yuan Mi and the images of ascendant immortals on a stone coffin in the Luoyang Yishu Bowuguan(Luoyang Arts Museum)were both objects produced by the Eastern Garden in the Luoyang area.The production and decoration of the stone burial chamber of Ning Mao and the lacquer coffin from Guyuan were also influenced by the Eastern Garden,while the carved images of filial sons on the carved and painted stone coffin screen that Lu belonged to the tomb occupant surnamed Lu also possibly came from the Eastern Garden or had some historical connection with that agency.After the Northern Wei shifted its capital from Pingcheng to Luoyang,the Eastern Garden was also re-located and it perpetuated traditions of painting of the Jin and the early Southern Dynasties period,while simultaneously incorporating Zoroastrian(Xianjiao)and Buddhist elements that were part of multicultural traditions of funerary objects in Pingcheng.Thus objects produced by the Eastern Garden came to include the ascendant immortals of the Han-Jin tradition,motifs of filial sons from Confucianism,the rnani-pearl motifs of Buddhism and the fearsome beasts that were Zoroastrian deities.In many pictorial materials,images of filial sons were only one element but they form no guide to the status of the status,social or otherwise,of the tomb occupant for whom they were produced
出处
《故宫博物院院刊》
北大核心
2007年第3期16-39,共24页
Palace Museum Journal
关键词
北魏
东园
东园秘器
温明
孝子
元谧石棺
宁懋石室
Dongryuan
Dongyuan miqi
Wen Ming
filial sons
Yuan Mi stone coffin
Ning Mao stone burial chamber