東漢金鄉祠堂圖像研究

本論文以建造於東漢時期山東區域的金鄉祠堂圖像作為主要論題，旨在探討金鄉祠堂的圖像內容、區域風格、以及圖像於祠堂功能性脈絡下的可能涵義。以下簡略說明本文討論的議題與重點：　　金鄉祠堂的圖像是以陰線刻的技法雕刻在磨平的石頭表面上。然而，在金鄉祠堂的原石表面，除了已知的圖像線條以外，尚存在許多極細的淺刻線，大部分位於祠堂壁面的下層區域。這些淺線條除了可組成與畫面相應的圖像，填補既有被認知為空白的畫面，也透露設計者對於金鄉祠堂呈現的場景曾有不同的構想。從早先的一齊舉杯致敬的場合，更改為生動的宴飲場景。值得注意的是，部分淺線條構成的圖像，位在過去被認為是圖像邊界之外的區域。透過對這些淺線條的分析，顯示我們對於金鄉祠堂的室內空間，尚未有充分認識，而金鄉祠堂的圖像，應是配合祠堂室內空間的配置來進行規劃。　　有關金鄉祠堂的區域風格，在考察一系列河南北部的墓葬後，顯示金鄉祠堂不論是圖像風格、或是建築的形制與結構，均與河南北部具有密切的關聯，因此在本文中將其統稱為「豫北風格」。豫北風格可用繪畫或石刻的形式來呈現，在圖像中嘗試描繪接近真實場景的空間，在表現空間深度的同時，也兼顧畫面中物體的體積、比例、量感與事物的細節描寫，相較於其他漢代作品而言，顯得相當成熟，反映東漢中晚時期具備的繪畫水準。透過本文分析，可確認豫北風格的另一個特質是此風格具備明顯的階層性，豫北風格的原型應與流行於首都中上階級豪強官宦宅邸中的繪畫具有密切聯繫。　　透過對於祠堂內部圖像與空間配置的相關考察，以及納入金鄉祠堂中淺線條圖像進行考量，筆者推論出一整組結合空間與圖像的解釋方案，來回應金鄉祠堂的祠主圖像與宴飲畫面涵義此兩大未解的議題：金鄉祠堂壁面下方的空白區域，可能存在著以繪畫或實物的長桯（桌），在祭祀時與壁面共同運作。本論文主張金鄉祠堂壁面上不存在祠主圖像，祠主是以實物在祭祀時呈現於祠堂室內空間。祠堂內的八字形構圖，並非用來引導視線集中，而是以祠主的方位與視角來繪製宴飲空間，並嘗試將此視覺經驗表現於平面的壁面圖像上。至於金鄉祠堂巨幅的宴飲圖像涵義，則以祠堂的功能性出發，判斷為表達特定的筵席，是舉辦在墓園中，有地方名望、耆老故友與宗族等出席的盛大宴會。

關鍵字

金鄉祠堂；朱鮪石室；漢代繪畫風格；豫北風格

並列摘要

This thesis takes images of Jin Xiang Shrine which built in Shandong during the Eastern Han Dynasty as the main topic, and aims to explore the image content, regional style, and the possible meaning of the image in the functional context of the ancestral hall. The following briefly explains the essay and dissertate discussed in this article: The image of Jin Xiang Shrine is carved on the polished stone surface using the technique of line carving. However, in addition to the known image lines on the original surface of the shrine, there are still a lot of very thin shallow engraved lines, most of which are located in the lower area of the ancestral hall. These shallow lines can not only compose images corresponding to the known picture, filing the existing picture that is been known as blank, but also reveal that the designer had had different ideas about the scene presented by Jin Xiang Shrine. It changed from the earlier occasion of a toast to salute, to a lively banquet scene. It is worth noting that the part of the image composed of light lines was considered to be an area outside the image boundary in the past. The analysis of these shallow lines shows that we have not yet fully understood the indoor space of Jin Xiang Shrine, and the image of Jin Xiang Shrine should be planned according to the layout of the ancestral hall. After examining a series of tombs in northern Henan in this regional style regard of Jin Xiang Shrine, it is revealed that whether the image style or the shape and structure of Jin Xiang Shrine are closely related to the northern Henan. In this article they are collectively referred as "Yu Bei(豫北)Style". The Yu Bei Style can be presented in the form of paintings or stone carvings. It tried to depict the space close to the real scene by images. While expressing the depth of the space, it also gives considerations to the volume, proportion, sense of volume of the objects in the picture and the detailed description of things. As far as other works of the Han Dynasty are concerned, they appear to be quite mature, reflecting the level of painting in the middle and late periods of the Eastern Han Dynasty. Through the analysis of this thesis can confirm that another characteristic of the Yu Bei Style is that this style has obvious hierarchical characteristics. The prototype of the Yu Bei Style should have had close relationship to the paintings which is popular in the residences of the upper-middle class in the capital. Through the investigation to the internal image and the space configuration of the ancestral hall, and the inclusion of the shallow line images in Jin Xiang Shrine, the author deduced a whole set of interpretation that combine space and images to understand the main image of the ancestral hall of Jin Xiang Shrine that are the image and the banquet picture whose had unresolved issues: there may be a long frame (table) with paintings or real objects on the blank area under the wall of Jin Xiang Shrine, which works with the wall during the ritual activities. This thesis suggests that there is no image of the temple owner on the wall of Jin Xiang Shrine, and the temple owner exists in the indoor space of the ancestral hall when offering ritual activities. The figure-eight-shaped composition in the ancestral hall is not used to guide the line of sight, but to draw the banquet space based on the orientation and perspective of the ancestral owner, and try to express this visual experience on the flat wall image. Regarding to the banquet in the Jin Xiang Shrine and consider the functionality of the ancestral hall, we could possibly infer that it means to express a specific banquet, a grand banquet held in the cemetery and attended by local fame, old friends, and clan.