论鲁西南汉画像石中神明形象的宇宙论意义

On the cosmological significance of stone deity image in Shandong southwestern portraits in the Han Dynasty

昆仑神话系统与蓬莱神话系统融合而成的汉代神话系统,营造了一个相对于人间的神话仙境。这种二元的宇宙观广泛地反映在汉代墓葬中祭祀性的雕刻艺术汉画像石之中。山东西南地区(更具体为济宁—枣庄地区)的汉画像石在整个汉代中都具有代表性,古代神话中遗留下来的神明形象作为神话原型在汉画像石中反复出现,其相互之间的组合与分工共同构建一个由人间上升到仙境的二元宇宙观。通过对于此种宇宙观的阐释见出汉人对于人与自然对话所体现的情感特征,在这种升天的神话宇宙观之下,表现的是汉人对于现实生活的肯定,以及回归永恒的纯净与闹热。

Han Dynasty mythology system fused by Kunlun mythology system and Penglai mythology has created a mortal fairyland. This binary cosmological view is widely reflected in the Han stone carving art of sacrifice in the Han dynasty tombs. Han portrait stones in southwestern Shangdong areas （more specifically as Jining - Zaozhuang areas） are representative throughout the Han Dynasty. Moreover, gods＇ images as a legacy of myth prototype of the ancient mythology appear repeatedly in Han portrait stones, the combination and division of which co - construct a binary cosmological view from the earth to the fairyland. The interpretation of this cosmol- ogy suggests the emotional features embodied in the dialogues between man and nature, and the Hart people＇ s approval of the real life and their return to eternal purity and bustle under this assumption of myth world view.