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北魏寧懋石室的圖像與功能=The Ning Mao Stone House of the Northern Wei Dynasty: A Re-examination of Its Iconography and Function |
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| 著者 |
林聖智 (著)=Lin, Sheng-chih (au.)
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| 掲載誌 |
國立臺灣大學美術史研究集刊=Taida journal of art history, National Taiwan University
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| 巻号 | n.18 |
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| 出版年月日 | 2005.03 |
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| ページ | 1 - 73+234 |
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| 出版者 | 國立臺灣大學藝術史研究所=Graduate Institute of Art History, National Taiwan University |
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| 出版サイト |
http://homepage.ntu.edu.tw/~artcy/
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 寧懋石室=Ning Mao Stone House; 祠堂=sarcophagi; 葬具=house-shaped sarcophagi; 屋型葬具=offering shrine; 墓葬圖像=funeral icons; 庖廚圖=kitchen scene |
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| 抄録 | 本文藉由北魏孝昌三年（527）寧懋石室的個案研究，比較寧懋石室與新出土的考古遺物，考察其圖像與功能，重新認識此石室在北朝喪葬文化中的意義。近年隨著數件北朝屋型葬具的出土，學界目前多傾向將寧懋石室視為葬具。不過經由對於石室構造的比較分析、圖像題材的選擇、配置與內容等多方面的綜合檢討，本文提出寧懋石室並非葬具而是祠堂的結論。石室內部中央空白兩側的《庖廚圖》與奉食侍女，意為陳獻祭食。《庖廚圖》中省略屠宰牲畜的表現則受到佛教殺生之戒的影響。過去慣稱為寧懋夫婦畫像的後壁人物立像，可以重新比對為奉養死者的家屬。雖然石室中並未畫出祠主畫像，但是原來可能安置了祭祀對象。後壁人物立像雖然位在石室後側，但是與室內中央的祭祀對象之間，具有家屬奉養父母的心理關係。這種配置方式與佛教造像碑供養人像的表現有關。石室中以《孝子傳圖》作為祠堂外側主要圖像，藉由與孝子傳故事有關的畫像或文字，來建構祠堂的空間與意義。若石室內部圖像的主題為「養」，則外側的重點在於「孝」。透過石室內外空間的對應關係，「孝」與「養」互為表裏，相互補充。
This paper re-examines the iconography and functions of the Ning Mao Stone House, dated 527, in the light of recent archaeological discoveries. Many scholars have linked the Ning Mao Stone House (in the collection of MFA, Boston) with houseshaped sarcophagi that are common in tombs of the Northern Dynasties, and have concluded that the Ning Mao Stone House functioned as a sarcophagus. Through a careful study of its material, structure, and pictorial program, however, this paper proposes that the Stone House was an offering shrine rather than another house-shaped sarcophagus.Inside the Stone House, two side panels with depictions of a kitchen and servants offering food frame the central panel, which is blank. The Buddhist teaching of no killing probably has influenced the depiction of the kitchen, shown here without the traditional slaughter scene. Although a portrait of the deceased does not appear on the central panel, in front of it there may have been a ritual object that symbolized the presence of the deceased. The standing figures depicted on the back of the central panel are living family of Ning Mao, rather than Ning Mao and his wife, as commonly noted. An intimate relationship exists between the outside and the inside: the living family outside attend to the deceased inside. Similar positioning can be found on Buddhist steles, where images of donors often appear on the back. In addition, scenes from Biographies of the Filial Sons adorn the exterior of the shrine, further strengthening the theme of filial piety. These images and texts define the spaces of the shrine and their meanings: "offering" for the interior and "filial piety" for the exterior. The complementary ideas correspond to, and are further enhanced by the paired spaces of the Stone House. |
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| ISSN | 10232095 (P) |
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| DOI | 10.6541/TJAH.2005.03.18.01 |
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| ヒット数 | 476 |
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| 作成日 | 2015.02.02 |
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| 更新日期 | 2023.07.26 |
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