凡神幽冥之间:淮阴高庄战国墓刻纹图像新考  

Created for Afterlife:A New Study on the Engraved Images of the Tomb in Gaozhuang,Huaiyin

作　　者：吴桐 虞睿博 Wu Tong;Yu Ruibo

机构地区：[1]中国人民大学历史学院 [2]法国巴黎第一大学索邦艺术史和考古学院

出　　处：《艺术设计研究》2024年第3期19-27,共9页Art & Design Research

基　　金：教育部人文社会科学重点研究基地重大项目“长江中下游青铜文化带的形成与发展”(项目编号:18JJD780001)的阶段性成果。

摘　　要：淮阴高庄战国墓刻纹图像是复原吴越艺术与精神世界的重要材料,所见“凡俗”与“神怪”不同题材的图像内核其实一脉相承,并与薄壁刻纹铜器的明器性质相配适,皆是为墓主构建的死后空间,即幽冥世界。前人认为神怪图像属于“山海图”实际缺乏足够证据。“凡俗”与“神怪”题材的流行年代略有先后,其转变主要在于晋楚文化影响消长的背景下,吴越地区的丧葬观念由“事死如生”向“信巫鬼,重淫祀”的更迭。The engraved images of the Huaiyin Gaozhuang Warring States Tomb are important materials for restoring the art and spiritual world of Wu and Yue.The image cores of different themes of"vulgarity"and"gods-monsters"are actually in line with each other,and are adapted to the properties of thin-walled engraved bronze vessels,both of which are the afterlife spaces constructed for the tomb owner,namely the underworld.Previous scholars believed that the images of gods and monsters belonged to the"mountain and sea map",but in reality,there was insufficient evidence.The popularity of the themes of"vulgarity"and"gods and monsters"occurred in a slightly different era,mainly due to the influence of Jin and Chu culture.

关 键 词：淮阴高庄 刻纹图像 凡俗 神怪 幽冥世界 

分 类 号：J05[艺术—艺术理论]