马王堆汉墓帛画《太一将行图》新证

NEW INSIGHTS INTO THE MAWANGDUI HAN TOMB SILK PAINTING DRAWING OF THE PROCESSION BEFORE THE DEPARTURE OF TAIYI

目次帛画命名和拼缀复原帛画主神外的神像和题记考证三帛画主神神象和题记考证四帛画性质、用途与巫道辟兵术马王堆汉墓帛画《太一将行图》1973年末出土于长沙马王堆三号墓东箱的一个黑色漆查中,经拼缀,呈现出一幅由约十六个大小不同、残损严重的帛片组成的帛画。帛画高约43.4、宽约45.1厘米。帛画用整幅黄褐色细绢制成,上用墨、赤、白、藤黄和花青等五种颜色绘有七个神和三条龙的形象[1]。七个神图像中六个旁边有题记,三条龙图像中二个旁边有题记。

The Mawangdui Han tomb silk painting entitled Drawing of the Procession before the Departure of Taiyi has been known for nearly 40 years.However,there is still some disagreement in the academic world about the name,nature,and intended use of this silk painting.The composition and interpretation of its images,as well as the analysis of its inscriptions and prayers,have not been thoroughly researched.In particular,there is a lack of in-depth understanding of its relationship to repelling weapon practice in shamanism and Daoism.This paper first analyzes and evaluates the nine names previously given to the silk painting,and concludes that Drawing of the Procession before the Departure of Taiyi is the most appropriate.Regarding the restoration of the silk painting's stitching,this paper summarizes various previous opinions and,in conjunction with the latest academic achievements on stitching,proposes a new stitching scheme that is considered the most appropriate so far.This paper also provides an in-depth analysis of the deities,inscriptions,and prayer texts depicted in the silk painting.It undertakes a meticulous word-by-word examination and closely compares these elements with the existing textual records,thus offering a comprehensive interpretation and leading to several new insights.The final part of the article sheds light on the characteristics of the silk painting,its purpose,and its relationship to the ancient practice of repelling weapons in shamanism.It elaborates on how the painting was used in military contexts,depicting supplicants invoking the high god Taiyi to lead deities in enchantments against enemies in order to protect their own forces from harm.The study also draws parallels between the depictions of these deities and the inscriptions with Daoist scriptures from later periods,revealing a significant continuity from shamanism to Daoism and tracing the deep historical roots of many Daoist spells.