漢代畫象中的「射爵射侯圖」

Notes on the Scene of "Aristocratic Rank and Status Hunting" in the Han Tomb Bas-reliefs and Murals

邢義田(I-Tien Hsing)

《中央研究院歷史語言研究所集刊》 71本1分 (2000/03) Pp. 1-66

摘要

漢畫的圖象構成常有一定的格套，有些甚至有榜題。個人以為以榜題文字為依據，解析格套的構成元件，是理解畫象寓意較可靠的出發點。理解畫象有時可從榜題出發，有時可從歸納材料，確立格套及其變化出發，再以榜題為輔，確立內容和意義。本文即以這樣的方法，試圖將一般學者稱之為「樹木射鳥圖」的漢畫正名為「射爵射侯圖」。
本文從數十件畫象中，解析出「射爵射侯圖」構成的格套元件－(1)大樹、(2)樹上之鳥或猴、(3)樹下仰射者，並討論其組合變化。再以「立官桂樹」等榜題為據，指出桂即貴，鳥即雀、爵，猴即侯；樹下之人射鳥或猴，象徵著射爵射侯，追求富貴。漢代畫象中經常出現「射爵射侯圖」，反映了漢代人生願望的重要一面。

關鍵字

漢代畫象 ； 格套 ； 榜題 ； 射爵射侯圖

並列摘要

Two years ago, I wrote an article on how to understand the contents of Han Dynasty bas-reliefs and murals through their inscriptions. I mentioned, as an example the tree and archer scene from Shantung and Honan in which human figures look upwards, trying to shoot birds or monkeys perched on a tree. In that article, I concluded that the meaning of this type of scene was probably 'hunting for official positions, wealth and high rank', for there were four characters li guan gui shu 立官桂樹-'entering officialdom on a cassia tree' in which gui 桂 (cassia) is a homonym of gui 貴 (high rank)-under a similar tree in a Han Dynasty tomb mural of Holinger. Recently, I read The Studies of Han Dynasty Picture Stones in China by Hsin Li-hsiang. In this book, he called this image ”tree and bird-shooting.” I am now writing this short article to prove that this type of image should instead be called ”Aristrocratic Rank and Status Hunting.” Also, I intend to talk about the methods for understanding the meaning of Han Dynasty images, using this particular motif as an example.
Ⅰ. Inscriptions and fixed ready-made models-comparatively reliable starting points for understanding Han pictures
During the Han Dynasty, people often used murals, picture bricks or stone carvings to decorate their tombs and shrines. It has been almost two thousand years since the Eastern Han, and the limited source materials available today can not show conclusively the many political, artistic, religious and psychological factors behind these murals, picture bricks and stone carvings. Understanding the meaning of these pictures from our modem perspective slips too easily into unprovable theories. Fortunately, the pictures are often composed of fixed ready-made models and some even have inscriptions on them, so that we can try to understand the intention of Han artists according to the clues they themselves left behind. Thus, I believe that inscriptions and fixed ready-made models are comparatively reliable starting points in interpreting the intention of the pictures.
Craftsmen often inscribed characters on murals, picture bricks or stone carvings to help viewers better grasp the contents of the pictures. Through these inscriptions viewers could accurately ascertain the meaning of the pictures, avoiding senseless guesses. If we can sort out the inscriptions and figure out some regularities in the correlation between the inscriptions and the images, then we not only establish the reliability of these inscriptions, but also deduce the meaning of those art works that do not have their own inscriptions.
One way to make such deductions is by analyzing the fixed ready-made models that constitute the pictures. It is not difficult to see that Han Dynasty pictures are basically composed of many stereotyped sets of motifs assembled in certain fixed manners. Average artisans and painters stuck to old rules and imitated others. Outstanding artisans and painters could create numerous complicated changes. Nonetheless, basic elements in the fixed ready-made models can still be sorted out through analysis.
In exploring the meaning of the picture, a basic analysis of the fixed ready-made model ensures that the picture constitutes one unit and identifies its essential, secondary, and non-essential elements. ”Essential elements” refer to core elements that are related to the thematic meaning of the pictures. Without these elements, the intention of the picture cannot be revealed, and the picture is no longer an independent unit of meaning. ”Secondary elements” are also related to the thematic meaning of the picture, but its main function is to highlight and perpetuate the theme. Without it, the basic theme will still surface and the unit is intact. The ”non-essential element” consists of dispensable decorations which exists for the purpose of enriching visual effects. Sometimes the decorations may also bring new themes into the picture.
To interpret a picture and establish its meaning and content, one may start with the inscriptions. One may also start by studying the material at hand and establishing its fixed readymade models and their changes, while using the inscriptions as a supplementary source. The basic assumption for this method is this: Pictures consisting of the same fixed ready-made models share the same meaning. Fixed ready-made model may vary. Time, geography, fashion, special intention of the suppliers and buyers or personal taste could all have caused changes in the form and meaning of some fixed ready-made models. But if one can grasp the basic form and changes of fixed ready-made models, then it is possible to deduce the meaning of a picture without inscriptions by an example of another picture with the same ready-made model but with inscriptions. As an example, I am attempting in the following paragraphs a new interpretation of the image Mr. Hsin Li-hsiang defined as 'tree and bird-shooting'.
Ⅱ. The So-called 'Tree and Bird-shooting' Pictures
By examining the 36 related pictures excavated from Shantung, Honan, Kiangsu, Szechwan, Shaanxi and Liaoning, one can see that the three parts in the 'tree and bird-shooting' pictures as defined by Mr. Hsin-the storied building(s), the horse(s)/vehicle(s), and the bird-shooting-may be composed in the following different ways:
1. Tree and bird-shooting
2. Tree and bird-shooting + storied building(s)
3. Tree and bird-shooting + horse(s)
4. Tree and bird-shooting + storied building(s) + horse(s)/vehicle(s)
5. Tree and bird-shooting + storied building(s) (or + horse(s), horse(s)/vehicle(s)) + others
6. Tree and bird-shooting + others— storied building(s)
Among the above six categories of composition, there are three categories (1, 3, 6 in 26 examples) in which the motif 'tree and bird-shooting' appears alone or together with horse(s) or other scenes. This is more numerous than 'tree and bird-shooting' appearing together with storied buildings (categories 2, 4, 5 in 10 examples). If bird-shooting was for offering sacrifices to the ancestors in the storied buildings and therefore the motif sets bird- shooting and storied building are significantly linked, then they should have appeared together more frequently, even as the sole motif in a picture. Yet there are only two examples with this last type of composition. This means that there is probably neither necessary relationship between bird-shooting and the storied building, nor necessary relationship between the storied building and the horse/vehicle. These three motif sets can be put together or can be put separately. The interpretation of Mr. Hsin is built upon the assumption that these three parts constituted a meaningful whole. Since his theory cannot explain the often independent appearance of each of the three sets or why 'tree and birdshooting' appeared less frequently with the storied buildings than with other scenes, I believe it needs to be further deliberated.
Ⅲ. To Identify ”Notes on the Scene of ”Aristocratic Rank and Status Hunting”--Image from Inscriptions and fixed ready-made models
The 'tree and bird-shooting' or 'tree and monkey-shooting' motif can either exist alone as an independent unit of a picture. Its essential constituent elements include:
1. A big Tree
2. Bird(s) or monkey(s) on the tree
3. Archer(s) under the tree
Without these elements, a picture cannot be called 'tree and bird-shooting' or 'tree and monkey-shooting' picture. Illustrations 1-10 of this article are the simplest examples of this type of pictures. Some of these pictures have horse(s)/vehicle(s), sheep, dog(s) and/or fish added to them. These items can have different levels of meaning, but they are of secondary importance. Some of the trees are exuberant. Some have only simple branches and leaves. Some have both bird(s) and monkey(s) on them. Some only have bird(s) or monkey(s). The number of birds and monkeys varies. There can be only one archer looking upward and trying to shoot, or there can be two or three archers. The numbers and degrees of complexity have no impact on the basic meaning of the picture and can be considered as non-essentials as far as the meaning of the picture and the analysis of motif sets are concerned.
After having identified the core part which produces the meaning of the picture, we may proceed to look at the inscriptions on the side in order to know the exact meaning of the picture. In my previous article, I pointed out that in a Holinger tomb mural, there is a picture of a big, exuberant tree. There are clearly two human figures under the tree, one on the left hand side and one on the right hand side, both looking upwards towards the tree in a shooting posture. This picture has the same fixed ready-made model characteristics as the 'tree and bird-shooting' picture excavated from Shantung. So we can use it to deduce the meaning of other 'tree and bird-shooting' pictures. There are four characters li guan gui [shu] 立官桂[樹] ('entering officialdom on a cassia tree') in this Holinger mural. So far as we know, this is the only inscription ever found under this type of tree.
From this inscription, we may deduce that the big trees in the same fixed ready-made models, although having different shapes, all derive their meaning from the cassia trees and were related to 'entering officialdom' or 'establishing an office'-a phrase often used in ancient China. The fact 'entering officialdom' and 'cassia tree' appear together in this inscription indicates that the cassia tree is linked to the office. The Han Dynasty folk song/ballad 'Meeting by Chance', and ballads at the time of Emperor Ch'eng recorded in 'Treatise on the Five Elements' in the History of the Han Dynasty all indicate that people during the Han Dynasty liked to use homonyms. Sheep (羊, yang) denoted auspicious omen, deer (鹿, lu) denoted official salary (祿, lu) , bird (雀, chueh) denoted degree of nobility (爵, chueh), cassia (桂, kuei) denoted high rank (貴, kuei), monkey (猴, hou) denoted high official position (侯, hou). So the big tree beside the inscription 立官桂[樹] must have symbolized promotion in officialdom, advancement in the degree of nobility and achieving wealth and high rank. The human figure(s) shooting bird or monkey on the tree should have meant hunting for aristocratic rank and status hunting. If my theory is acceptable, then the 'tree and bird-shooting picture' should be named ”aristocratic rank and status hunting” instead.
Ⅳ. Changes and Multiple Moral of the ”Aristocratic Rank and Status Hunting” Picture
The above analysis of the ”aristocratic rank and status hunting” is based on the meaning of the most essential part of the picture only. Sometimes there are other items in the picture as well. For instance, other than the monkey(s) and bird(s), sometimes there are phoenixes, horse-body-with-human-head figures, or fairies on the tree; sometimes there are horse(s)/vehicle(s) or horse(s) only tied under the tree; sometimes there are sheep, dog(s), or horseback riders. How should we perceive these? From the perspective of essential elements, these vehicles, horses, sheep, dogs or fish only served to enrich the picture and did not affect the presentation of the basic theme. These additions make the ”aristocratic rank and status hunting” image richer and with more meanings. They not only denote promotion in officialdom and advancement in noble status, but also referred to auspicious omen, wealth, high rank as well as avoidance of disasters. Together with essential elements, they more completely reflected the dream and aspirations of Han Dynasty peoples.
Sometimes various fixed ready-made models were nimbly assembled together to make the composite image unit contain multiple meaning. Thus, the 'tree and bird-shooting' image in the Han Dynasty pictures could simultaneously contain other meanings than ”aristocratic rank and status hunting” as well. More importantly, the. bird-shooting scene in Han Dynasty pictures can not always be interpreted as 'nobility degree and high official position hunting'. For instance, the famous picture brick depicting bird shooting and harvesting unearthed from Ch'eng Tu, Szechwan has two human figures by a tree shooting flying birds in the sky and some farmers wielding their sickles. This should be a simple depiction of farming and hunting life.
Ⅴ. Conclusion
Form and content of image art change with the time. A certain image tradition or theme can last for centuries, but are seldom unchanging. Over the centuries, painters and masons, while following traditions and set rules, also made additions, subtractions and small changes here and there according to the ever changing needs and fashions. The same fixed ready-made model, after these additions, subtractions and changes, may still keep its basic meaning, yet may also simultaneously contain a variety of new, added meanings.
While creating their art works within the scope of a variety of meanings, Han Dynasty painters also conformed to their own perceptions and the perceptions of their buyers (potential owners of the tombs and their families). From the perspective of these buyers, the ”aristocratic rank and status hunting” image seemed to reflect a kind of rather universal expectation of the Han Dynasty people. This is consistent with the universal prayer for wealth and high rank seen in the inscriptions on the Han Dynasty mirrors.
By identifying the ”aristocratic rank and status hunting” image, I realized that although a picture in the Han Dynasty tomb or shrine has its own integrity and we should pay attention to the organic bonds between its constituent images, yet if we insist on first combining the various images which had their independent theme and moral and then try to interpret them as a whole, we would often be misled. As a matter of fact, only a small portion of these pictures were created with intensive attention, while most of them were influenced by the fashions of their time and locations and were made do by putting together several fixed ready-made models. There might or might not be some regularities in their composition. Under the circumstances, it may be a vain attempt to explore the overall structure and meaning of the pictures in Han tombs and shrines.
The motif-set type units (such as the image of 'nobility degree and high official position hunting') that constitute a whole picture are easier to handle, for they have their own conventional and fixed basic forms and moral. They are more suitable to be used as starting points in the analysis of pictures. Of course the Han Dynasty painters and stonemasons did not always stick to the stereotyped motif-sets. In order to create a variety of visual effects or contents, they often added, subtracted and/or divided elements of a set or linked them to other themes. Therefore, it is not a simple matter to identify the basic stereotyped motif-sets and their changes. I believe in order to have certainty of success, it is better first to use the inscriptions and to ascertain the meaning of the units of the pictures and the changes of these fixed ready-made models and then to proceed to consider the picture in the tombs and shrines as a whole.
Finally, I would like to stress that the method used in this small article cannot really solve all the problems concerning the understanding of Han Dynasty pictures. Its limitations are obvious: 1. Many Han Dynasty paintings have no inscriptions on them. Some of them have unique appearances and their fixed ready-made models cannot be easily deduced. Their moral can only be explored by using other methods. 2. Was there a consistent meaning for similar fixed ready-made models of different times and locations as perceived by different artisans and buyers? This is a question that will probably have no real answers.

並列關鍵字

Han Tomb Bas-reliefs and Murals ； Fixed-ready Made Models ； Inscriptions ； the Scene of Aristocratic Rank and Status Hunting

參考文獻

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