墓葬世界里的伏羲女娲形象——以考古发现资料为中心  

A Study on Fuxi-and-Nüwa Images in the Burial World:Based on Archaeological Materials

作　　者：郭永利 GUO Yong-li(Institute of Archaeology and Museology,School of History and Culture,Lanzhou University,Lanzhou 730020,China)

机构地区：[1]兰州大学历史文化学院考古学及博物馆学研究所,甘肃兰州730020

出　　处：《兰州文理学院学报（社会科学版）》2023年第6期14-21,共8页Journal of Lanzhou University of Arts and Science(Social Science Edition)

基　　金：国家级非遗代表性项目“‘太昊伏羲祭典’研究与阐释”。

摘　　要：墓葬出土汉代至唐代伏羲女娲的图像材料不少。两汉时期的伏羲女娲像配置有日月、升仙、规矩、乐器等,表现阴阳、升仙、护佑墓葬的神灵及帝王形象。魏晋南北朝隋唐时期,星宿、日月配置的固定图像组合,与外来文化的杂糅成为最显著的现象,更表达了外来文化对伏羲女娲墓葬传统的认同。之后作为墓葬主要神灵的伏羲女娲转变为护佑的神煞,逐步退出墓室。Large numbers of Fuxi-and-Nüwa images had been excavated from tombs dating back to the Han and Tang Dynasties.During the Han dynasty,Fuxi-and-Nüwa images were accompanied by objects such as the sun,the moon,the compass,the carpenter’s square,and musical instruments.In this case,Fuxi and Nüwa symbolised yin and yang respectively,and implied the meanings of ascending to heaven.They were also the protective deities and emperors in tombs.From the Wei-Jin period to the Tang dynasties,Fuxi-and-Nüwa images were regularly shown with stars,the sun and the moon.It was during the period that the Fuxi-and-Nüwa images were depicted together with exotic elements,showing foreign cultures’acceptance of Chinese traditional tomb culture.Afterwards,Fuxi and Nüwa transformed from protective deities to shensha(Tomb Deities and Devils),and gradually disappeared from the tombs.

关 键 词：伏羲女娲 墓葬传统 杂糅与认同 

分 类 号：K879.49[历史地理—考古学及博物馆学]