汉画神仙世界的理念设定与形态构建研究  

Study on the Conceptual Setting and Morphological Construction in the Immortal World in the Han Paintings

作　　者：程万里[1] Cheng Wanli(the School of Art,Southeast University,Nanjing,Jiangsu,210096)

机构地区：[1]东南大学艺术学院,江苏南京210096

出　　处：《民族艺术研究》2022年第1期85-91,共7页Ethnic Art Studies

基　　金：国家社科艺术类重点项目“中国祭祀图像的历史重构”(项目批准号:20AF008)的阶段性研究成果。

摘　　要：汉代先民以神仙境界为生命的终极境界,同时也认为是亡者的最佳去处与归宿,在这种信念的影响下,在"此岸"与"彼岸"之间构建出一整套特定内涵的墓葬空间图像系统。一方面,安抚着逝者,表达了生者对于此生与往生知识性的解释;另一方面,又显示出宗族、家族、个体成员之间的关系,以及其所对应的社会、组织、环境、文化、信仰等的文化属性,并通过物态化的视觉形象来感知宗法理念下的自我认证与族群归属。People in the Han Dynasty regarded the immortal world as the end of the world, and they also thought that world is the place where dead people should go. Under this idea, a spatial image system of the tomb with special connotation has been constructed between “this shore” and “the other shore”. On the one hand, this comforts the dead, telling the explanation of the living people about the knowledge about this life and the afterlife. On the other hand, it also shows the relationships among clans, families, individuals, as well as the cultural features of the society, organization, environment, culture, and belief. Furthermore, it also enables people to sense self-verification and the belonging of groups through objectified visual images.

关 键 词：图像 汉画 形态构建 理念内涵 此岸与彼岸 

分 类 号：J0-05[艺术—艺术理论]