漢畫中的特殊人物形象

漢畫像中的人物圖像反映了漢代現實生活的風貌，也反映了漢代的政治、社會文化風俗的特色。前人對漢畫像中人物圖像的研究主要集中在一般圖像的解讀或特定題材的研究上。對於漢畫中的某些特殊人物形象，如身形特別高偉的「大丈夫」，鬍鬚茂盛的「美鬚髯」，筋力強健的「力士」及漢代「罷癃」形象人物之特徵，迄今為止學術界還沒有人進行綜合的研究，因此本文欲在這些方面作一開拓性的嘗試。漢代，力士無論是在國家對外的爭戰中，或者對人主的護衛上，皆佔有極為重要的地位。在漢代墓室出土的畫像中，常可見力士形像，其類型大致有「搏獸力士」、「張射力士」、「持械力士」及「負重力士」四種，其中以「搏獸力士」的圖像最多，大多出土於河南省的南陽地區，可見當地「尚力」風氣盛行。力士除了是國家戰鬥力的基礎，亦是護衛已逝墓主的重要形象，為墓主驅邪避凶的精神象徵。漢代社會文化中，對鬍鬚長得茂密又有威儀的男子，稱頌為「美須髯」。在秦漢墓室出土的畫像石、畫像磚及壁畫中，常可見蓄鬚髯男子之形象，其類型大致有「長鬚髯」、「山羊鬍」、「絡腮鬍」、「八字鬚」四種。漢畫中「長鬚髯」的圖像最多。漢代社會文化中，將「美鬚髯」者視為神祇般崇敬，輕視、鄙夷無鬚或鬍鬚稀疏之人，或赴死前，也要「銜鬚於口」，不讓鬍鬚受土污染來顯示志節。甚而在漢代律令中，犯輕罪者以剃去鬚髯作為懲罰等來看，可推知漢代風俗中，「美須髯」形象是男子的重要且珍惜的外貌象徵。在漢代，「丈夫」乃指稱男子，而「大丈夫」有彰顯男子德行氣節之涵義。漢畫中的成年男子戴冠，體形高大，有「大丈夫」形象之特色，與幼年垂髫，形體矮小之「小丈夫」之形象有明顯之區別。在拜謁圖像中，接受拜謁的男墓主形象，居於畫面的主要位置，且其體形與其他男性相比，異常高大，可謂是「大丈夫」形象之寫照。漢畫中的「大丈夫」形象是地位尊卑的表徵，亦是德形之彰顯，以及男子英風偉烈之展現。漢代「罷癃」的主要形像特徵，除了年老體弱多病者外，還包括身材矮小者、天烏者及金痍者。漢代社會風俗以矮陋為恥，有「罷癃」守官府的規定，風俗中「罷癃」成為宴樂百戲表演要角。從漢代畫像中可以看到俳優長相醜陋，上身赤裸，下身著褲之形象，顯示其地位並不高。在漢代戶籍登記制度中，將「罷癃」之人規劃為一類，可見其在漢代社會中的人數可能不少。罷癃為漢代的一種特殊人群，由於其身分特殊，所以當政者對這些人有優撫措施。

關鍵字

漢代；漢畫；力士；丈夫；美鬚髯；罷癃

並列摘要

The portraits in Han paintings reflected not only the real life style of Han Dynasty but also the characteristics of Han Dynasty's politics and social culture.The previous research on the portraits in Han paintings mainly focused on the interpretation of general images or specific subjects. As for some special characters in the Han paintings, such as the "grand Zhang-fu", whose images were particularly tall and strong, the "man with beautiful and lush beard", the "strong man" with strong muscles, and the characteristics of the "Pilong" in Han Dynasty. Since there was no research in academia involving such comprehensive survey, this thesis intends to make an attempt in these aspects. In Han Dynasty, the "strong man" played an extremely important role, no matter in the country's external warfare, or in the protection of his lord. Among the portraits unearthed in the tombs of Han Dynasty, the images of "strong man" were often seen. There were roughly four types of them: "Warriors fighting with animals", " Warriors who were shooting arrows", "Armed Warriors" and "Warriors that carried heavy goods". Among the images that were most unearthed in Nanyang area of Henan Province, "Warriors fighting with animals" were in majority. This shows that the people there highly advocated the strength of man power. In addition to being the foundation of the country's combat power, they also took the responsibility to guard the tomb of his deceased lord, and to be a spiritual symbol that helped drive bad spirits away for his deceased lord. In the social culture of the Han Dynasty, men with thick beards and majestic beards were praised as "beautiful beards ." In the stone reliefs, bricks and murals unearthed from the tombs of the Qin and Han Dynasties, the image of a bearded man can often be seen. There are roughly four types of beards: "long beard ", "goatee", "full beard" and "八’-shaped beard". In the Han paintings, the "long beard " images are the most often seen. From the social culture of the Han Dynasty, people with beautiful beards were highly respected. Besides, people despised those who had no beards or sparse beards. Before a man was executed, he had to "hold their beards in their mouths" to prevent their beards from being stained with dirt. According to the law that those who shaved off the beards of others had to be punished, it can be inferred that in the customs of the Han Dynasty, the image of "beautiful beards" was an important and cherished symbol of men's appearance. In Han Dynasty, "Zhang-fu" referred to men, and "grand Zhang-fu " meant men of masculine physique, which also showed the integrity of men. In the Han paintings the adult male usually wore headgear. They were tall and had the characteristics of "grand Zhang-fu", which was clearly different from the image of a "little Zhang-fu" who was short and immature. In the paintings in the tombs, which showed the sense of paying homage to the lord, we observed the image of the male tomb owner who received the greeting occupied the main position of the picture, and his figure was unusually tall compared to the other men. The image was often described as a portrayal of a " grand Zhang-fu ". The image of the " grand Zhang-fu " in the Han paintings was a sign of status and dignity. It was also a manifestation of morality and heroism. The main characteristics of "Pilong" in Han Dynasty included being extremely short, old, and ugly, being seriously ill, or having wounds that were caused by weapons. In Han Dynasty the customs that people looked down on being short and ugly prevailed. "Pilong" would be offered a job to be a doorkeeper at government organizations. More often, "Pilong" would become an important part in banquet performances. From the portraits of Han Dynasty, we can see that Comedian(Paiyou) looked ugly, with their upper part of their bodies naked and only in trousers. This showed that their status was not highly valued. In the household registration system of Han Dynasty, the "Pilongs" were categorized as a certain group, which showed that there might be a large number of such people in Han society. As "Pilongs" were a special group of people in Han Dynasty, they were given special care by the government because of their special status.