2003和2005年，陝北定邊郝灘和靖邊楊橋畔先後發現兩座東漢壁畫墓。這兩墓壁畫上出現了前所未見的主題—「太一坐」。這迫使我重新思考馬王堆三號墓所出的「太一將行」或「太一避兵」帛圖到底和郭店簡中所見「太一生水」說是否有關，也不得不思考怎麼讀「圖」的問題。 此外，本文考察了漢代石刻和壁畫中對「水」的多種表現形式，證明定邊、靖邊壁畫「太一坐」圖中的弧形並排線條描繪的應是懸泉或瀑布。古代關中的藝匠以他們生活經驗中所見的懸泉或瀑布去象徵具有源頭和盛大意義的「水」。「太一坐」圖和郭店簡《太一生水》篇的概念應該有關。

Based on the tomb mural motif of “taiyizuo” unearthed in Dingbian and Jingbian counties of modern Shaanxi province in 2003 and 2005 respectively, this essay first reflects on the relation between the so-called “taiyi patrolling” or “taiyi preventing from military disaster” motif among the Mawangdui silk paintings on the one hand, and the cosmological concept of “taiyi engendering water” or “taiyi involving water” found in the bamboo text of the Guodian tomb on the other.

Secondly this essay attempts to examine the ways of representing water in Han arts and to show that the parallel and cursive lines in the middle of the “taiyizuo” represent a waterfall, or a gorgeous and powerful form of spring water. Therefore, the conceptual origin of the “taiyizuo” mural’s motif can probably be traced back four or five hundred years to the bamboo text of “taiyi shengshui” or “taiyi engendering water” unearthed at Guodian, Jingzhou, Hubei province.

太一; 太一生水; 太一坐

Taiyi; Taiyi engendering water; seat of Taiyi