摘要
馬王堆帛畫《辟兵圖》自從公佈以來，學界對於帛畫中央主神的身分一直有不同意見。本文藉由帛畫印痕重新綴合帛畫，修正上層神像的相對位置，並且發現中央主神上方，有一處過去忽略的字跡，是判斷中央主神身分極為重要的關鍵，中央主神應是蚩尤。帛畫上層所繪雷公雨師，是用來彰顯蚩尤呼風喚雨的神力；中層四位神像所執兵器，及下層描繪的鑪與鎔，則是贊揚蚩尤製造兵器的功績。本文從整體佈局的角度，闡述帛畫呈現的視覺語言，希望對於探索漢代軍事文化有所助益。
Since the first publication about the “Avoiding Weapons” silk painting from Mawangdui, scholars have had different hypotheses as to the identity of the main deity in the centre of the painting. This study proposes an alternate configuration of the fragmented painting based on the traces of ink and revises the relative position of the upper figures. Accordingly, previously ignored handwriting above the main deity has been recognized and is argued to be a key to determining the identity of the main deity.
The main deity in the central position is most likely Chiyou. In the painting, the Thunder God and the Rain Master in the upper section are used to highlight that Chiyou has the ability to summon wind and rain. The weapons held by the four figures in the middle section, as well as the furnace and mold in the lower section, together stand in praise of Chiyou’s ability to produce weapons. Through analyzing the visual language and the overall layout of the silk painting, the paper contributes to our understanding of the military culture of the Han dynasty.
關鍵詞
辟兵 蚩尤 帛畫 數術
“Avoiding Weapons,” Chiyou, silk painting, shushu