宋辽时期墓室悬镜功能考——兼论“引魂升天”母题在宋辽墓室中的图像呈现  

On the Function of Suspended Mirrors in Burials of the Song and Liao Dynasties: Also on the “Channeling the Soul to Heaven” Image

作　　者：张凯[1] 

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《中原文物》2018年第3期116-122,共7页Cultural Relics of Central China

基　　金：国家社会科学基金一般项目"10至13世纪东亚地区罗汉信仰与图像研究"(17BZJ043);中央高校基本科研业务费基金(人文社科)重大引导项目(2242017S10023)

摘　　要：宋辽时期,悬镜常被悬挂或镶嵌于墓室的顶心位置。长期以来,它只是与其他铜镜一道被视为普通陪葬品而未在功能上严格区分。从宋辽墓室悬镜的装饰纹样、所处位置以及图像配置关系来看,它在墓室中扮演着灵魂升往仙境入口的重要角色,是纵向图像体系的尽头,也是人间与仙境的通道节点所在。它虽在表现形式上受到建筑藻井营造方式的影响,但在思想诉求上体现的却是古老的"引魂升天"母题。它是两汉玉璧纹样和"天门"铜牌在宋辽时期的时代呈现,又结合了唐代藻井莲花图案的佛教内涵。我们以此为契机,可以对宋辽墓葬图像体系的整体装饰目的和根本诉求产生更为深刻的认识。During the Song and Liao dynasties, the suspended mirrors were often attached to or embedded in the top of the burial chamber. For a long time, they have been taken as common grave goods, the function of which were not distinguished from others. Based on their decorative pattern, location and image, they should have been employed as the important entrance for the soul to enter heaven. They were the end of the vertical image system, and the boundary between real life and the divine world. Though their style was influenced by sunk panels, they indeed were rooted in motifs reflecting the ancient ideology of channelling the soul into heaven. They mirrored the jade disk and bronze plaque of ＂Tianmen＂ of the Han time, which also included the lotus-pattern sunken panels of the Tang time. The analysis of the suspended mirrors can contribute to a profound understanding of the image system in burials of the Song and Liao dynasties.

关 键 词：宋辽时期 墓室悬镜 功能 引魂升天 

分 类 号：K878.8[历史地理—考古学及博物馆学]