北魏沙嶺壁畫墓研究

北魏太武帝太延元年（435）沙嶺壁畫墓位在山西大同，為現存北魏最早的紀年壁畫墓。本文在研究材料上結合了圖像與隨葬品，考察鮮卑葬俗與漢晉傳統的關係，透過平城與其他區域之間的政治文化交流來進行綜合性的圖像研究。墓主出自破多羅部，為鮮卑部落。由於沙嶺壁畫墓的年代距離破多羅部臣服於鮮卑拓跋不久，此墓除了顯示五世紀初平城墓葬圖像的新發展，還可能體現了破多羅部本身的墓葬傳統。壁畫中的出行圖的特徵為結合百戲的方陣排列，這與高句麗壁畫具有共通之處。由神獸圈可知鮮卑為了彰顯其新興的政治地位，採用新的圖像來重新詮釋並定義何為鮮卑神獸。人首獸身鎮墓獸除了守護的功能之外，可能還具有導引與護送墓主神魂的意義。墓中的漆畫殘片原來可能是漆棺的一部分，漆皮隸書題記應原為漆棺棺首的柩銘。沙嶺壁畫墓中具有雙重的正面墓主畫像，漆棺墓主畫像具有較明確的紀念性與儀式性，壁畫墓主畫像則表現出墓主生活於地下世界的情景。這些圖像的配置均以墓主夫婦畫像為中心，構成具有上下、內外、主從關係的墓葬空間。由沙嶺壁畫墓可以得知，即使是在北魏建國初期，鮮卑運用墓葬圖像的手法已顯示出一定程度的統整性。

關鍵字

北魏；鮮卑；墓壁畫；漆畫；沙嶺

並列摘要

The Shaling mural tomb, which dates back to 435 AD, is the earliest Northern Wei dynasty mural tomb known to us at the present time. This paper examines the tomb from three perspectives: 1) the different materials used in the tomb, 2) the integration of Xianbei funeral customs and the funeral traditions of the Han and Jin dynasties, and 3) the political and cultural relationship between Pingcheng and other regions. The images of a procession combined with acrobatic formations found in the Shaling tomb are unique similar to tomb murals found in Koguryo. From the images of auspicious creatures presented in the tomb, we can see that, in order to highlight their newly-emerging political status, the Xianbei used new images to re-interpret and define what the auspicious creatures of the Xianbei actually were. Furthermore, beasts with anthropomorphic heads and the bodies of animals protecting the tomb not only served as guardians, they may have also have acted as guides for the spirit journey of the deceased. Images of a procession (mentioned above) are show together in pairs with images of a banquet (as well as other images), which represents a new form for images in the Northern Wei dynasty Pingcheng period. Debris of lacquer paintings found in the tomb may have been part of a lacquer coffin, and the writing found on the lacquer may have functioned as a coffin inscription (jiuming). Two portraits of the deceased facing forward can be found in the tomb: the one on the lacquer coffin seems to have had a more clearly identifiable commemorative and ritual function while the one on the wall of the tomb depicts scenes of the deceased's life in the underworld. The portrait of the deceased is painted on the back wall of the tomb chamber and dominates, as well as formulates, the hierarchical order in the tomb space.How did the Xianbei ruling class control and learn to use images? This important issue has long been neglected in considerations of the Xianbei's political transformation from a tribal alliance to a country. From a study of the mural tomb at Shaling, it is apparent that the Northern Wei dynasty ruling clique's use of tomb images revealed a certain degree of integration even at the beginning of their regime.