山東金鄉縣李莊村東漢晚期「朱鮪石室」見於《水經注》和《夢溪筆談》等文獻。基於早年國外學者的調查，這座石結構墓祠曾受到西方學者普遍的關注。本文在更為完整的材料基礎上，對該石室重新加以討論。

「朱鮪石室」體量高大，外部、內部皆佈滿畫像，呈現出完整的建築形象。來訪者可以輕鬆進入石室，自如地觀覽畫像。石室內部畫像結構是一座二層樓閣，畫像的傢俱部分使用「平行透視」，人物部份則按照近大遠小的方式加以表現，整體上反映了一種直觀的視覺經驗。在石室建造時，可能有些祠主尚未故去，出於禁忌，相關的位置有大量空白，而以群體性社會身份出現的賓客、子孫和侍者的形象則栩栩如生，反映出中國古代宗教藝術由非偶像傳統向偶像傳統過度的特徵。畫像流暢的陰刻線條模擬筆繪壁畫，很有可能曾有鮮豔的敷彩，營造出一個炫目的圖像世界。與建築結構、畫像風格以及對於視覺的重視相一致，這組畫像不取同時期常見的禮儀性「拜謁」主題，而精心刻畫了一場鋪張的宴會，直率地表現出時人享樂的欲望，而有關天道人心的內容也被大量刪減，反映出當時人們對外部物質世界的認識日趨理性。從這個特殊的例子，可以看到2世紀末中國藝術內部已蘊含著多種可能性。

“Chu Wei Shrine” from the late Eastern Han dynasty found at Lizhuang Village, Jinxiang County, Shandong Province is recorded in literature such as Shuijing zhu (Annotated Canon of Waterways) and Mengxi bitan (Brush Talks from Dream Brook). Because of previous research done by scholars abroad, this stone tomb shrine has attracted widespread attention from Western scholars. This paper attempts to reinvestigate this shrine on the basis of more complete materials.

“Chu Wei Shrine” is large in size. Both the exterior and interior are carved with images demonstrating complete architectural structures. Visitors have easy access to the shrine to look at the images freely. On the interior walls of the shrine represents a twostoried pavilion. In this image, a “parallel perspective” is applied to depict furniture, while foreshortening effect is used to portray figures, which, as a whole, provide a visual experience in a natural and intuitive manner. It is likely that some of the shrine masters had not passed away when the shrine was under construction. The traditional taboo culture may explain why certain portions of the image on the interior wall are left blank. On the other hand, the figures representing certain social communities such as guests, descendants, and servants are vividly depicted. The various ways approaching different figures manifest the transitional stage of Chinese ancient religious art that shifts from an aniconic tradition to an iconic one. The smoothly carved lines in the images of the shrine imitate the effects of mural painting, and the images were probably applied with bright colors originally, which created a dazzling visual world. In accord with the shrine’s architectural structure, the style of the images, and the special attention paid to visual effects, the content of the images presents not the most common theme, namely the ritualistic “homage” scene, but a carefully depicted lavish banquet that manifests people’s desire for a happy life. Moreover, the contents about the way of heaven and the heart of humans are largely deleted, reflecting people’s increasingly rational view of the material world. This special case demonstrates several different possibilities within Chinese art in the second century.

朱鮪石室; 漢代祠堂; 樓閣拜謁圖; 漢代宴飲; 觀看

Chu Wei Shrine; Han-dynasty shrine; homage scene in a pavilion; Handynasty banquet; seeing