引魂升天，還是招魂入墓－馬王堆漢墓帛畫的功能與漢代的死後招魂習俗

Guiding the Soul up to Heaven, or Summoning It into the Tomb: On the Function of Silk Paintings in Mawangdui Tombs and Posthumous Soul Summoning Custom of the Han Era

李清泉(Li, Qing-quan)

《國立臺灣大學美術史研究集刊》 41期 (2016/09) Pp. 1-60+371

https://doi.org/10.6541/TJAH.2016.09.41.01

摘要

本文以馬王堆漢墓帛畫中的天門圖像為切入點，重新認識帛畫的性質、功能，及其對理解兩漢墓葬美術中相關表現題材的意義問題。認為：一，這類帛畫既不是「復衣」，也不是「銘旌」，而是送葬儀式上用以引柩入壙的幡物「旐」。二，這類旐的作用，與濫觴於楚地的招魂入墓葬俗密切相關；馬王堆漢墓之旐，之所以為T形，並被名之為「非衣」，應是有意模仿「復衣」的形狀，以使其具有吸引亡魂的巫術效力；之所以又繪有死者的肖像和居有神仙的天門，當是因為明知靈魂必欲升天，而故意以天門圖像為吸引，誘使靈魂附著於非衣，最終復歸於棺槨中的屍體，從而解決引魂入墓與引魂升天的觀念衝突。三，借助對馬王堆非衣功能的認識，西漢至魏晉間中國人賴以「超度」亡靈的招魂禮儀美術形式，以及圍繞於「天門」的生死觀念與升仙信仰，大體可得一前後貫通的理解。

關鍵字

馬王堆帛畫 ； 旐-非衣 ； 招魂入墓 ； 天門 ； 死後升仙

並列摘要

With the image of the Gate to Heaven on silk in Mawangdui Tombs as the point of departure, this essay aims to take a fresh look at the nature and function of the silk paintings and their significance to understand related subject matters of funeral art in the Han era. After thorough analysis and discussion, the following arguments and observations are presented in this essay. First, silk paintings of this type can neither be identified as fuyi (a top of the deceased used to summon his soul right upon his death and to cover the body thereafter) nor as mingjing (funeral streamer bearing the titles of the deceased). Instead, they are used as zhao, a funeral streamer that serves to guide the coffin into the grave in a funeral procession. Second, the function of this type of zhao is closely related to the funeral custom of summoning the soul into the tomb that originated in the land of Chu. The zhao in Mawangdui Tombs, T-shaped and named feiyi (flying clothing intended for summoning the soul), is presumed to have intentionally imitated the shape of fuyi in order to obtain the efficacy of witchcraft to attract the soul of the deceased. With the knowledge of the soul's desire to ascend to heaven, the portrait of the deceased and the Gate to Heaven dwelt by immortals are painted on the feiyi presumably to appeal to the soul with the image of the Gate to Heaven, induce the soul to attach to the feiyi, and eventually lead it back to the corpse in the coffin, thus resolving the conflict between the notion of inducing the soul into the tomb and that of guiding it up to Heaven. Third, by determining the function of Mawangdui feiyi, we can generally achieve a consistent understanding of the soul summoning ritual art form that the Chinese had relied on to ＂release＂ souls from purgatory from Western Han through the Wei and Jin period, as well as the notion of life and death and the belief in immortality centering around the ＂Gate to Heaven.＂

並列關鍵字

Mawangdui silk paintings ； zhao (funeral streamer)-feiyi ； summoning the soul into the tomb ； the Gate to Heaven ； posthumous immortality

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