| 摘要: | 近年，中國大量發現漢代銅鏡。較之前期，漢鏡紋飾豐富。而且，西漢晚期以後，陸續出現博局鏡、畫像鏡以及神獸鏡。上述銅鏡當中，逐漸出現人物畫像。其中，尤以西王母為中心的人物畫像，最具代表，而且呈現清晰的發展脈絡。 因此，本文將以漢鏡西王母畫像為中心，進行類型分析、風格類比，從而釐清漢鏡西王母畫像的發展脈絡。首先，本文將以漢鏡為中心，回顧齊家文化銅鏡、商周銅鏡、東周銅鏡的發展，以為漢鏡研究之基礎。 其次，針對漢代銅鏡的類型與風格，進行分析與歸納。得知，西漢晚期以降，銅鏡紋飾當中，日漸出現人物畫像。其中，新興題材的西王母畫像，經常出現博局鏡、畫像鏡、神獸鏡當中，而且製作技法、表現手法以及藝術風格之上，時俱變。 整體而言，博局鏡採用細線式的線雕技法，表現形象較小、較無秩序、較無敘述性的西王母畫像。其次畫像鏡採用淺浮雕技法，表現形象較大、兩兩相對、較有敘述性的西王母畫像。此時，西王母多與東王公夾鈕對置出現，兩側通常有一至三位隨眾陪侍。最後，神獸鏡採用浮雕技法，表現畫像隆起凸出、高低起伏，頗具立體感。神獸鏡中西王母畫像與神獸或眾神一起呈現，西王母頭大、髮戴如意飾，身體為寬袍所罩，肩背兩側大多有上揚的羽翼，西王母兩側有龍、鳯陪侍或與眾神一起呈現在鏡背畫面中，然而形象越來越小，漸漸消融於眾神群像之中。 上述演變當中，西王母由獨尊的地位轉向君母的身份，而且人物配置越來越多，最後消融於眾神群像中，體現西王母引來諸神並使眾神顯容的宗教意涵，進而護佑該銅鏡的使用者，導致西王母吸引眾神的保護之下，使持鏡者達到升仙與辟邪的使用功能。
In recent years, China has found lots of bronze mirror of Han Dynasty. Comparing with early period, the sculpture the mirror of Han Dynasty is more plentiful. Moreover, they found many mirrors which were originally from later period of western Han Dynasty;such as Bo-ju mirror, portrait mirror and mirror of mythical beast. And From mirrors mentioned above, China gradually found that some of mirrors were sculptured with figure painting. Among them, the figure painting of Xiwangmu was most representative and also represented a clear development. Therefore, the article would take the figure painting of the Xiwangmu of Han dynasty as the main idea to implement type analysis and style analogy for clarifying the development of the figure painting of the Xiwangmu of Han dynasty.First of all, the article would take the mirror of Han Dynasty as the main idea to review the development of bronze mirrors of Qijia culture, western Chou Dynasty and eastern Chou Dynasty; furthermore, to take them as the basis to study mirrors of Han Dynasty. Secondly, to analyze and generalize the type and style of mirrors of Han Dynasty;we found more and more figure paintings sculptured on mirrors of the later period of western Han Dynasty. Among them, the new emerging subject of Xiwangmu was normally sculptured on the Bo-ju mirror, portrait mirror and the mirror of mythical beast.Moreover, the technical skill, the expression of technique and artistic style were changed with the trend of that peroid of time. Overall, Boju mirror was applied by the thread engraving technique to sculpture the figure painting of Xiwangmu with the style of smaller image, disorder and less narrativity. Secondly, the portrait mirror applied bass-relief technique to sculpture the figure painting of Xiwangmu with the style of large image, symmetry and more narrativity. At this period of time, the figure painting of the Xiwangmu was normally opposite with the figure painting of the king of the east and there was normally a botton decorated between them on the mirror; meanwhile, there were about one to three entourages sculptured on the two sides of mirror. Lastly, the mirror of mythical beast was applied by the relief technique to express the protrusion, the ups and downs. It was really stereophonic. In the mirror, the figure painting of the Xiwangmu was normally represented with mythical beasts or other gods. the head of the Xiwangmu was big and her hair was decorated with Ru-Yi accessory; furthermore, she was dressed with quilted robe and there were rising wings on the back of her; in addition, there were dragon and phoenix or other gods accompanying her; however,her image became smaller than before; eventually, disappeared among images of other gods. In the above evolution, the position of the Xiwangmu became the mother of the monarch and there were more and more figures decoated in the mirror; finally, her image disappeared among images of gods which represented a religious concept that Xiwangmu attracted gods and enabled those gods to reveal their images; consequently, to protect the user of the bronze mirror and then the user could be eventually immortal and ward off evil. |
