引魂灵璧-湖南博物馆.PDFVIP

纪念马王堆汉墓发掘四十周年国际学术研讨会论文集 引魂灵璧 Bi That Guides the Soul to Heaven 〔美〕芝加哥大学 巫 鸿 Wu Hung, University of Chicago, USA 内容提要：通过对马王堆一号墓内部3个璧（或璧图像）和帛画的分析，可以推测， 按照当时的习俗，正是这些璧（或璧图像）和帛画的安放，完成了死者灵魂穿越不 同界阈上升天际的过程：安置在内棺外、接近死者头部的玳瑁璧引导魂魄离开尸体； 帛画中的璧、龙组合随即促成死者从肉体存在到永恒魂魄；此后的两个璧 龙图像， / 分别代表了灵魂的两个去处：一个是继续在墓中享受饮食和声色之娱，另一个是到 达遥远的、幻想中的仙界，这两处不相衔接，但体现了当时古人对待生死的理念。 关键词： 马王堆 棺椁 帛画 璧 Abstract: Through the analysis of the three bi (or images of bi) and paintings on silk from Tomb 1 at Mawangdui, it can be assumed that according to the custom of the time it was through the placement of these bi (or images of bi) and the paintings on silk that the soul of the deceased could complete the process of transcending different barriers to rise to heaven: the hawksbill shell bi placed outside the inner coffi n but close to the head of the deceased guides the soul to leave the body; the combination of bi and dragon in the paintings on silk immediately facilitates the deceased to transform from physical existence to eternal soul and spirit; the next two bi/dragon images respectively represent the two possible destinations for the soul: to continue enjoying food and drink and entertainment inside the tomb, or to reach the distant imaginary wonderland. These two places, though not connected, refl ect the ancient people’s idea of life and death. Key words: Mawangdui; inner and outer coffi ns; paintings on silk; bi 张光直师曾提出：“中国古代文明中 层次之间进行沟通。”[1] 本论文既在这一宏 的一个重大观念，是把世界分成不同层次， 观观察之下展开，其主旨在于通过对考古资 其中主要的便是‘天’和‘地’。不同层 料的分析，指出“璧”在汉代墓葬中作为沟 次之间的关系不是严密隔绝，彼此不相往来 通不同时空层次、引导死者灵魂穿越多元象 的。中国古代许多仪式、宗教思想和行为的 征性