唐代（618-907）墓室壁畫中的儀仗與出行場景向來深受考古學家與歷史學家所關注，大多數研究者都將墓道所繪的出行圖視為墓主身份和等級的象徵，尤其是初唐時期墓道兩壁的儀仗車馬，常被認為明確標示了墓主的官階和身份。

本文試圖回答：為何唐代長樂、新城、永泰這三位身分相同的公主，墓道出行壁畫的內容和數量卻有差異？透過比較其整體的圖像設計與唐代的喪葬儀式，文中探討墓葬是根據禮儀規章而作，或受到其他政治因素的影響，尤其環繞於墓道的出行圖是否和墓主的地位或性別有關的議題。

作者認為，墓葬藝術並非用於表現墓主生前的身份，而是代表死後的新地位；同時也推測墓道壁畫的儀仗鹵簿和陶俑都屬於送葬行列的一部分。

文中利用歷史、禮儀、與視覺的多方證據。通過分析唐代文獻裡對於公主出行的紀錄、以及詳細描述壁畫圖像和喪葬儀節，作者進一步指出，這三座公主墓的圖像規劃主要是受到地區、時間、政治等因素的影響，而非一般所認為的由禮制或性別所主導。最後並將墓道壁畫與墓誌的書寫相比擬，認為兩者均可為墓主重構出新的身分。

Archaeologists and historians have long taken the honor guards, vehicles, and horses along the sloping path as clearly denoting the tomb occupant’s identity and status. Through the comparison of the same sloping path murals of three princesses, the paper assesses whether the tombs were controlled by ritual regulations or other factors. In other words, whether there is a relationship between the “procession” on the sloping path mural and the status/gender of the deceased. The paper proposes that tomb art does not in fact represent the identity of the deceased while living but rather represents the new identity of the dead. It furthers speculates on the relationship between the mural figures as honor guards and the clay figurines which are brought into the tomb during the time of the funeral as the real procession. Making use of textual descriptions of princess processions from Tang texts, close description of mural iconography, funerary rituals and processions, the paper concludes that the mural programs were primarily influenced by locale, time, and political factors, and not ritual regulation or gender. In conclusion, the murals are compared to epitaphs, as both created a new identity and status for the deceased.

唐代公主; 墓葬壁畫; 鹵簿出行

Tang princess; tomb murals; procession