本文由風格、作坊、圖像等視角考察一組新復原的石棺牀圍屏，勾勒北魏洛陽時期風格的系譜，討論北魏葬具作坊的運作問題，並探究喪家與工匠協商的過程。其中圖像配置的原理除了以墓主夫婦畫像為中心之外，還兼具以橫躺在牀上的墓主身體為基準，透露出對於墓主身體的意識。喪家在圍屏所界定的框架中展現對於墓主的追念與孝思，在此同時，圍屏的結構、作坊的運作，乃至於畫稿的形態也都牽動著生死觀的表象。

This paper attempts to study the issues of style, workshops, and images related to a set of newly reconstructed stone bed panels from the Northern Wei dynasty. The author traces the development of the pictorial styles employed in this stone bed and explores the negotiations between the artisans and the family of the tomb occupants. The arrangement of the images on the stone panels reveals an awareness regarding the body position of the tomb occupants on the stone bed. The family expressed their filial piety through the layout of the stone panels. The layout of the stone panels, the existence of workshops of this kind, as well as the format of the sketches are all closely related to the representation of the thoughts of life, death, and the afterlife in the Northern Wei dynasty.

北魏; 石棺牀; 圍屏; 圖像; 作坊

Northern Wei; stone bed; stone panels; images; workshops