影響漢畫發展的社會文化因素

The Social and Cultural Background of Han Dynasty's Relief and Stone Engraving

漢代是我國藝術史上「禮教化」特別發達的時期，造成這種獨特畫風，實有其歷史文化因素。為深入了解漢畫的形式與內容，宜從畫作的時代背景中去探討。依此，本文擬以藝術社會學的詮釋架構，分析漢畫發展的社會文化因素，以為完整地詮釋漢畫意義的參照。具體而言，本文主至要目的有三：一.探究漢畫發展的政治、經濟、社會、文化等社會因素；二.從繪畫思潮、畫家的專業自主地位與畫家的意識型態層面，研析漢畫發展的文化因素；三.綜合前述研究結果，彰顯社會文化因素在詮釋漢畫上的重要地位與功能。為達上述目的，本文主要運用已出土的畫作以及有關漢畫的文字史料，探討漢畫特色與社會文化因素之間的關係。綜合研析資料，主要獲得以下三項結論：一.漢畫在內容上以禮教化為主，在形式上趨於拙僕、簡約而有力，實際深受當時社會文化背景之影響。漢代實施專制統治，政治因素對繪畫理念與形式具有決定性的影響。當時皇 帝為富國安民，尊重儒學禮治，加上當時宰相臣民也以儒學為尚，皇帝於是命令畫工繪製忠臣、孝子、烈女、勇將、聖賢於廟壁，亭台樓閣，以教化臣民尊禮守份，蔚為風氣。此種風氣與當時重禮守份的家族倫理與純樸民風相互結合，更強化了「畫以載道」的繪畫精神。在形式上的簡樸有力，根據藝術社會學者卡弗里斯(K.Kavolis)的論見，認為那是由於專治政治，社會階層分明，社會流動很少，且以農為主的生活型態，使人民過著「日出而作，日入而息」的規律單純生活，自然使藝術形式在政治、社會齊一化，單純化的特色中也反映了此種特質。二.漢畫的另一特色是除了禮教畫的嚴肅畫風之外、還滲入了浪漫的鬼神、幻想畫風，以及對自然的喜好與日常生活的描繪。前者是因漢代學術雖以儒學為主，但仍兼容黃老之術、符命讖緯之說，加以漢承襲自楚的神話傳說的崇神尚仙的浪漫情懷，以及漢拓展西域引入的外來信仰或文物，使漢畫中人、仙、鬼經常雜陳於一圖。後者是因承自秦以來裝飾畫的繪畫傳統，以及畫者對漢代人民當時安居樂業的穩定富庶生活的歡喜之情的直接反映。三.漢畫的特色在於畫者在專治體系中，沒有充分的專業自主性，只有秉承為政者的政治理念(ideology)，其畫作內容與形式實是直承式地反映了大部分當代的政治、社會、文化的特色。漢畫既然在反映當時的社會文化的意涵，那麼借用藝術社會學的詮釋繪畫的架構，對漢畫的深入了解就有很大的功能了。

In terms of sociology of art this paper attempts to analyze the social and cultural factors influencing the motif and styles of Han Dynasty's relief and stone engraving. Analytically two related problems are thoroughly investigated: (1) Political organization, Social system and morale, as well as social elite's thoughts of this period are discussed with a view to determing how far the social factors inflence the development of Han's relief and stone engraving; (2) Court painters' social status and their ideology formed through formal or informal education are examined in order to elucidate the cultural forces impacting Han's painting. Evidenced from the surviving art works and historical documents the following conclusions may be resulted: First of all, Han Dynasty's art, simplistic and energetic in its style and with special emphasis on the social and moral function in its themes, revealed the morality-centered Zeitgeist of the period. Han's court painters often depicted the stories of loyal subjects, bereaved sons, brave fighters and girls dying to the moral teaching on the walls of palace, temples and public buildings in order to preach moral teaching to all the people under the decree of emperor. Thus the paiter in this period was devoted completely to the will of the rulers of the Empire without any freedom of creation. Secondly, the constructive synthesis of naturalism, realism and Han religions temper was also revealed in the Han's painting. On the one hand, the love of natural beauty of the Han's people. economic affluence and social properity requested the painters to show the greatest possible realism in depicting the human figures, and landscapes. On the other hand, Taoist superstition, popular nature cult, belief in the existence of innumeberable spirits and creatures, the search for the elixir and the imported foreign religious were also manifested in the Han's stone tile or brick relief Conclusively it is suggested that sociology of art could propose the more persuasible conceptual framework to interprete the political, social and ideological significance of an art work.