| This article adopts the case analysis’ method, in order to interpret the image narrative of the pictorial stones in Yi’nan tomb, which belongs to the Han Dynasty, and inspect the images of different themes in different spatial orientation, different combination with different images has the unique symbolic significance.About Yi’nan tomb’s image group, in this paper, we abandon the method simply on the basis of image theme or burial chamber structure mode, but put the image and the spatial orientation, layout and the combination of the relationship between each image unified into consideration, and combining with the funeral, divided the burial image into two parts:the entrance of the tomb and the chambers, the portraits of the front and central chambers can also be divided into two parts:the "metempsychosis" portraits from the south to the north and the "watch" portraits from north to south corresponding with the sight from the rear chamber, they divided the chambers into a deflection dynamic linear space, and including the time factor.Analysis of the images in the entrance of the tomb mainly focused on the battle and fishing scene on the banner, the owl and the people with Snake-body on the east pillar. Main point is:the fishing scene has similar symbolic with the figure of Hu-Han war, clear the way for the dead so they can smoothly into the underground; the two birds on the east pillar were xuan niao, but not swallow, it’s owl, they constitute the concept of "door" in local scope; the people with Snake-body were not fuxi-nuwa, but were couples of tomb occupant, in this family, the female has a higher status than the male.Analysis of every subject corresponding to the order of the image narrative, main point is:four gods image under prophetic-mixed context contains myth appearance and cultural connotation, makes it becomes the mediation from the mythological of front chamber to the historical figure painting of central chamber, so that two different subjects could constitute a metempsychosis channel; the historical painting in central chamber is not for aesthetic education, but is rooted in the dead man’s moral god belief and the Confucian self taboo, although it is a depiction of real life, it still not out of the mythology context; rear chamber is the main place of transformation, and is the critical from "metempsychosis" portraits to "watch" portraits, the first journey finished with the help of the generations and the second journey is based on the sight guidance of the dead, so that they could join in the image narrative consciously; Chariots and horses procession actually were mu zhu rong gui tu, it’s destination is not shrine, but the chamber which is the eternal home, after the narrative, it become a symbolic depicting of travel back scene; sacrificial scene is not focused on the performance of the offspring’s "filial piety", but pay attention to different groups’ devotion, to meet the individual rights of the dead will and Confucianism affection as the object of local worship; depiction of the guard through the idle weapons to make true a reversely symbolic, the medial to the tomb and particularity consistent with the view of the dead forward after to front, illustrated its effect is through the dead view, he could achieve the evaluation and appraisal about the safety of the tomb. This part also involves "burial painting realism", the viewer, the deceased’s view mode, and the problem of filial piety culture in tombs. Through image analysis prove that the Yi’nan tomb is build by the dead, and there is no tomb sacrifice.Finally, we focuses on the research of life aesthetics contained in this tomb, mainly divided into four levels:the original life pursuit, abide by the Confucianism emotional, the carefree leisure construction and the transcendence of life time, every levels progressive, the further step by step. The entire tomb occupy absolute centre of the universe, it around the problem which the dead most concern, and they also were the only service object. |
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