作坊、格套與地域子傳統：從山東安丘董家莊漢墓的製作痕跡談起

Workshops, Repertories and Regional Sub-traditions: Traces of the Han Carved Tomb at An-Chiu in Shantung

曾藍瑩(Lan-Ying Tseng)

《國立臺灣大學美術史研究集刊》 8期 (2000/03) Pp. 33-86+187

https://doi.org/10.6541/TJAH.2000.03.08.02

摘要

本文擬從山東安丘董家莊漢墓的製作痕跡，重建漢代畫像石墓營建的過程，探討格套使用與作坊參與的情況，並由該墓畫像截然不同的兩種風格，追索魯、蘇、豫地區兩支石刻子傳統的分布概貌。藉由該墓不規整的製作特色，以及其與地域子傳統不可分割的密切關係，本文想指出刻意設計的模式在解釋多數漢代畫像石墓的局限性，並建議由介於喪家與工匠之間的喪葬專業機制，亦即隨著地域子傳統流布的雕飾格套，來思考漢代畫像石墓的拼組性格與雷同現象。

關鍵字

畫像石 ； 墓葬 ； 作坊 ； 格套 ； 區域

並列摘要

The decor of funerary monuments from the Han dynasty has been treated by modern scholars as intended designs closely related to their builders or patrons. Through the case study of a carved at An-ch'iu, however, this essay argues that most Han funerary decorations convey not so much the intentionality of either builders or patrons, as the visual mechanism that bridges the gap between them. By establishing a network of regional sub-traditions, the author further demonstrates that this visual mechanism in the funeral profession can be detected through some repertories favored by workshops for mass-production, repertories that were presumably provided by the builders but could be negotiated and modified by their patrons.In scale and richness of decoration unsurpassed among Han archaeological finds, the tomb at An-ch'iu does not show any coherent visual programme but displays a montage of given repertories. The carving traces, owing to their various degrees of completion, not only indicate the process of construction, but also reveal that at least three groups of artisans participated in the project. Distinguishable styles found in the tomb further allow to identify two sub-traditions of stone carving in the Shantung area. One, portraying the immortal domain as bas-relief in a composition that builds up perpetual motion, may be derived from the border of Honan and Kiangsu. The other, describing human activities by incised lines that explore dimensions, was nonetheless vernacular in Shantung. The juxtaposition of the two without further synthesis in the An-ch'iu tomb proves that the decoration, reflecting neither the intention of patrons nor that of builders, is part of popular culture that should be contextualized within the local funerary profession.

並列關鍵字

stone carving ； funerary art ； workshop ； repertoires ； regional studies

參考文獻

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