《招魂》“像设君室”与楚简帛之“象”

"像设君室" IN ZHAOHUN(招魂) AND "象" IN BAMBOO AND SILK DOCUMENT OF CHU KINGDOM

《招魂》"像设君室"之"像",前贤或解为法像,或解为画像,以顾炎武"尸礼废而像事兴,盖在战国之时矣"之推断最有见地。上博藏六《天子建州》"士象大夫之位"、"大夫象邦君之位"、"邦君象天子之位"之类记载,其"象"谓祭祀之设象。楚地出土的楚帛画以及西汉帛画对研究招魂之礼具有重要意义。据此由周代之"尸"到战国之"象"的礼制变革可以得到更为深入的认识。

The ＂ 像 ＂ in ＂ 像设君室 ＂ in Zhaohun（招魂, evoke a spirit from the dead）, some of the former worthies＇ explanation is the erecting body （ a person who act the dead to receive sacrifice ）, some of them interpreted it as the erecting of portrait. ＂The fall of corpse＇s rite and the rise of the portrait ceremony may happen in the Warring States Period＂ is most well-grounded point of view, first pointed by Gu Yanwu. The ＂ 象 ＂ in ＂ 士象大夫之位 ＂,＂ 大夫象邦君之位＂,＂邦君象天子之位 ＂ in the Article Tianzijianzhou （天子建州） on the Bamboo Slips in Shanghai Museum （Volume vi） means the erecting portrait. The silk paintings of Chu and the Western Han Dynasty are of great importance for further studying the rite of evoking a spirit from the dead. We can gain a deeper insight into the transition of the ritual system from the erecting body of corpse＇s rite in the Zhou dynasty to the erecting of portrait ceremony in the Warring States Period.