從靈光殿到武梁祠——漢代帝國藝術的重建

From Lingguang Palace to Wuliang Shrine:The Reconstruction of the Han Imperial Art

本文是作者近年撰寫的系列論文中的一篇。這組論文的目的,是利用以武氏祠爲代表的魯地東漢祠堂畫像,重構公元前後所奠立的漢代帝國藝術。本文分三節。第一節討論魯靈光殿的始作與沿革,並詳爲分析王延壽《魯靈光殿賦》描述的裝飾主題;結論是王延壽記録的靈光殿裝飾製作於東漢初年,乃兩漢之交漢帝國意識形態的視覺表達。第二節分析以武氏祠爲代表的'武梁祠派'作坊傳統的標準裝飾方案,結論是靈光殿的裝飾主題(包括但不限於:天/地、山神、海靈、禎祥、古帝王、列士列女),盡爲武梁祠派標準方案所囊括。第三節討論靈光殿主人,即光武長子魯王劉彊的陵寢與其宫殿的辯證關係;結論是作爲靈光殿之'象'、同時作爲紀念性建築,魯王陵寢的裝飾方案或包括兩類主題:移繪於靈光殿者,虚擬劉彊'不在'之'在'者;二者的遺影,皆見於武梁祠派的標準方案。始於元(帝)成(帝)、極於王莽的漢代禮制與意識形態改革,是漢代歷史、也是中國歷史的重大事件,由此誕生的新視覺語言,標志了商周以來中國藝術傳統的革命性轉折。本文與已發表的《孔子師老子》《周公輔成王》《重訪樓閣》以及待發表的《西王母與王政君》一道,共同構成了作者爲鈎沈這一新藝術傳統所做的微弱努力。

The current paper represents the latest of a succession of efforts by the same author to reconstruct the lost imperial art of the Han dynasty, drawing on the decorative themes from the middle-class shrines during Eastern Han in southeastern Shandong province represented by the Wu Liang Shrine workshop tradition. This paper is divided into three parts. The first part analyzes Wang Yanshou’s 'Rhapsody on the Hall of Numinous Brilliance(Lingguang Palace) in Lu,' in particular its catalogue-like description of the decorative themes in the Lingguang Palace. A palatial complex located in southeastern Shandong province, the Lingguang Palace was a gift of Emperor Guangwu(r. 25-57 CE),the founder of Eastern Han(25-220 CE), to his eldest son, Liu Qiang(25-58 CE), as a token of imperial favor after the son had surrendered his status as crown prince. Through analyzing the themes described by Wang Yanshou, this author argues that the decorative program in the palace represents the imperial ideology formed during the first century BCE and the first century CE. The second part of the paper examines the decorative themes appearing in the middle-class shrines within the Wu Liang Shrine workshop tradition, which features representations of heaven, the mountain and water deities, the heavenly omens, and the ancient sovereigns and worthy persons. A comparison between the decorative programs in the Wu Liang Shrine workshop tradition and in the Lingguang Palace leads to the conclusion that they share the same repertoire of decorative themes.The third part of the paper explores the dialectical relationship between the Lingguang Palace and its 'mirror image,' i.e. Prince Liu Qiang’s mausoleum, which was designed by the imperial workshop and built by local artisans recruited from southeastern Shandong province. Conceptualized ritually as both a replica of his residential palace and his commemorative monument, the mausoleum might have arguably been decorated with two different sets of subject matters: one copied from the Lingguang Palace, and the other created to indicate the virtual presence of Liu Qiang’s absent ritual body. Based on the close similarity between the decorative programs in the Lingguang Palace and in the Wu Liang Shrine tradition, this author argues that the latter must have been derived from the decorative program in the princely mausoleum.Along with this author’s three other published papers, including 'Confucius Meeting Laozi,''Duke Zhou Acting As King Cheng’s Regent,' and 'Revisiting the Pavilion,'and a projected one titled 'Empress Dowager Wang and the Queen Mother of the West,'this paper retraces the lost imperial art of the Han dynasty resulting from the ritual and ideological overhaul that was initiated roughly in the early first century BCE and intensified under the reign of Wang Mang(9-23 CE).