畫像石是流行於兩漢的墓葬藝術，表現當時的各種宗教信仰及墓室主人的身份地位、生前生活榮景，對於研究兩漢政治、社會、藝術等都是很好的材料。 南陽由於豐富的自然資源和雄厚經濟基礎，先進的生產技術和蓬勃的文化、藝文活動，加上讖緯迷信的流行，使得南陽地區的墓葬美術有著鮮明的地方特色。天文圖像為南陽漢畫重要的題材，其類型與淵源與兩京地區乃至於山東地區的壁畫墓有傳承關係。 本研究旨在探究圖像與信仰的關係。因此，本研究以南陽漢代畫像石墓為中心，並以麒麟崗漢畫像石墓為個案，從墓葬形制、圖像配置等方面切入，探討南陽地區畫像石墓各時期圖像配置和圖像使用變化情形。並透過對麒麟崗漢畫像石墓圖像系統的整理，進行墓門圖像、四壁圖像和天文圖像三個系統的圖像類型、淵源和文化意涵的探討，找出圖像、信仰與墓葬的關係。 Engraving of pictorial stones, a burial art prevalent in Eastern and Western Han Dynasties, not only reveals various religious beliefs then and the status, station of life and prosperity of the masters of the coffin chambers before their death, but also serves to be good material for studying the political, social and art development of both Eastern and Western Han periods. Thanks to the rich natural resources, a well-laid economic foundation, advanced production technology and flourishing cultural and artistic development in addition to the widespread adoption of divination practices, the burial art in Nanyang is characterized with vivid local features. Astronomical images are an important subject matter of pictorial stones in Nanyang. They are correlated with the wall-painting tombs in Nanjing and Beijing, even Shandong in type and origin. The purpose of this research is to explore the relationship between images and faiths. As a result, the engraving of pictorial stone tombs in Nanyang during the Han Dynasty is focused and the engraving of Qulingang Tomb is discussed as a case. The layouts and changes of images of the pictorial stone tombs in Nanyang in each period are examined by the formation of the graves and layouts of icons. The types, origins and cultural implications of three systems, the image of the gate of the grave, the image of four walls of the tomb and the astronomical image, are explored via arranging the image system of Qulingang Tomb so as to locate the relations among images, faiths and burials.
