吐蕃系统彩绘棺板画研究三题  

Three Studies on Painted Coffin Panels of the Tibetan Empire

作　　者：夏吾卡先 Shawo Khacham

机构地区：[1]西藏大学中国藏学研究所

出　　处：《国学学刊》2022年第2期31-40,138,共11页Research in the Traditions of Chinese Culture

摘　　要：自2002年青海郭里木吐蕃棺板发现以来,陆续有学者从多角度对棺板画内容进行了阐释。文章拟聚焦于“拂庐”“男女合欢图”“涂面”三个主题,认为拂庐不仅是出席丧葬礼仪人员的憩息之地,更是早期信仰中逝者“灵”与“尸”的居所;“男女合欢图”虽有旨在祈愿死者灵魂再生、轮回之寓意,但其文化源流可能源自中亚;“涂面”在吐蕃葬俗中表示守孝悼念礼节的习俗,与普通化妆的“赭面”有一定的区别。Since the discovery of the Tibetan coffin painting located in Guolimu,Qinghai province,in 2002,scholars have interpreted the content of the painting from multiple perspectives.This paper will focus on three narratives or ritual themes represented on the painted coffins which are:tent(a yurt),amorous scenes,and face painting.My research concludes that the tent is not only a resting place for those who are attending funeral ceremonies,but also the residence of the spirit and corpse of the deceased person.This comes formerly beliefs.Amorous scenes are possibly a ritual way of praying for the rebirth and reincarnation of the deceased.This cultural origin may be from Central Asia.The face painting depicted on the painted coffin is used specifically for mourning rituals,which is different from ordinary makeup.

关 键 词：彩绘棺板 拂庐 合欢图 涂面 

分 类 号：K879.4[历史地理—考古学及博物馆学]