敦煌佛爷庙湾墓伯牙弹琴画像之渊源与含义

在早期墓葬图像系统中,同一题材的图像反复地出现,构成了一种社会习俗,其背后当蕴涵着能为当时人所普遍认可的观念,该观念决定了此图像在墓葬中应出现的位置以及与之相配置的图像系统,是图像进入墓葬的内在依据和动力。本文以敦煌佛爷庙湾出土的伯牙弹琴画像为例,依据文献记载、铜镜铭文和图像自身的逻辑,着重考察了佛爷庙湾伯牙弹琴画像的渊源及其背后所蕴涵的观念,即图像的含义。作者指出,敦煌佛爷庙湾伯牙弹琴画像与四川、湖北及浙江等地区的图像联系紧密,认为该画像实际上起着调和阴阳的作用,暗示着升仙的必要条件,是升仙的辅助手段。

The Sources and Meaning of the Image of Boya Playing the Qin in the Tomb at Foyemiaowan,Dunhuang

In the system of early funerary images,the constant re-appearance of particular images constructs a social custom at the back of which lie certain popular beliefs of a particular period. These beliefs dictate the positioning of the image in the tomb as well as the system of images that accompanies it,and provide the support and motivation of the images.The author uses the image of Boya playing the qin unearthed in the tomb at Foyemiaowan,Dunhuang,as well as historical documents and the logic of the image itself,to focus on the origins of this image at Dunhuang and the background beliefs that provide the meaning of the illustration.The author also points out that the images of Boya playing the qin from Dunhuang were closely related to similar images that appeared in Sichuan,Hubei and Zhejiang,and that the image was designed to play a role in harmonizing the yin and yang forces,thereby providing the necessary conditions for the ascent of the soul of the deceased as an immortal.