漢代 畵像石에 반영된 祭祀藝術樣式 -武梁祠堂樓閣拜禮圖를 중심으로-

Abstract

It is assumed that the life of the after death for Han-dynasty people was derived from concepts. A nationalization of the Confucianism, The Filial piety system (worship for their ancestors), An Immortal spirit (funeral with sincere devotes), Consciousness of Hwasangsuk (paintings carved on stone), Art of ancestral rites. This article seeks proliferated cultures of Han-dynasty people as a point of a view to afterlife which consists of the Hwasangsuk and art of ancestral rites. Especially, this subjects focused on the Hwasangsuk which implies the Expressionism of abstract paintings in modern art. It’s not banalities but masterpieces which include both Symbolism and the Expressionism in ancestral rites. In this way, the studies find symbolic system and social meaning of the Nugak-baerye-do (樓閣拜禮圖; Blueprints of a palace for salutation). In conclusion, Mussi-sahwasang(武氏祠画像) reflects piece of art not only god’s pleasure which involved spirit of artist but also their social life, and high standard art as the representation techniques. Han-dynasty people who believed immortality of the soul construct shrines for ancestral rites. It can be construed by the case 'Ritual constructions the front of tomb’ during changes to ancestral rites in front of tomb. A passion for external life, based on a belief of the immortal soul, produced the ancestral rites as the Expressionism and concrete art. Through carving prints to shrine in front of tomb, they pursue their happiness with the belief its eternity from grandfather to their grandson. The symbolic art for ancestral rites is a crucial print for understanding social meaning Han-society. Because it is based on Han-dynasty people’s concept to spirit and the Confucianism. It is assumed that the ‘Nugak-baerye-do’ was made by their sons who want to satisfy filial piety in the mood for spreading its system. A symbol of the palace is a place where takes a worship for ancestral rites, like a shrine. Also the person is a lord of tomb which represents filial piety. Therefore, Nugak-baerye-do means art for ancestral rites that implies Han-dynasty civil artist's notion of esthetics. It could be understood that posterities incorporate their wishes to prosperity on the Hwasangsuk. Futhermore, the current of social customs are surmised by expressions of ancestral rites art which incarnated the belief of receiving filial piety from their offsprings. This is to the description of meaning for filial piety and its spreading is to the expressions of social spirits for ruling propaganda, “exclusion the various schools of thinkers, respect Confucian ideas”(罷黜百家, 獨尊儒術). This trends maintain to period of the post-Han. Then, it is estimated that artists or stonemasons who seeing through the phases of the times inspire ancestral rites sentiments to the Hwasangsuk. It stands for ‘filial piety’(孝) as exceptional ideology of the times. As a view of Han-dynasty people who believed immortality of the soul, it is supposed that tomb and shrine is the place being exist gods. Also, it is the place where gods protect soul to live in tomb. So upper side means heaven in which gods live. Thus expressions of the Hwasangsuk describes that their ancestors who buried in grave exist not the past but the present. Describing symbolic materials as linked between ghost and human, the posterities believed that it will take them to their ancestor and make their prosperity from the past to the present. Finally, they achieved the art of ancestral rites through its description to portray wishes for eternal life.