摘要
在汉代祠堂图像中,西王母和乐舞同时出现的画面常被解释为是对"歌舞祠西王母"的描绘,与两汉时期盛行的西王母崇拜现象紧密相连.而近几年安徽省淮北市出土的小祠堂画像为重新探讨其中西王母和乐舞的关系提供了新的视角.文章意在通过梳理汉代祠堂图像中西王母和乐舞的主要图像模式,重新审视汉代祠堂中西王母和乐舞的关系,并以此说明图像结构对解释图像意义的关键作用.
Abstract
In the images of shrines in central and southern of Shandong,northern Jiangsu,and northern Anhui,the simultaneous appearance of the Queen Mother of the West(Xiwangmu)and music-dance has often been interpreted as a depiction of"singing and dancing in honor of the Queen Mother",which is associated with the phenomenon of the worship of the Queen Mother prevailed in the Han Dynasties.However,in recent years,the excavation of small shrines portraits in Huaibei City,Anhui Province has provided clearer evidence for the reinterpretation of the relationship between the Queen Mother and music-dance images.The purpose of this paper is to re-examine the relationship between Queen Mother of the West and music and dance images in the Han Dynasty shrines by combing the main image patterns of Queen Mother of the West and music-dance images in shrines from central and southern of Shandong,northern Anhui,and northern Jiangsu,and to illustrate that the meaning of an image should be interpreted not only according to its depiction but also according to its structural approach.
维普
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