| Summary: | 碩士 === 國立屏東教育大學 === 視覺藝術學系 === 97 === The excavation of Manwangdui Han Tombs is considered one of the most major Chinese archeological discoveries in the 20th century. Since its excavation morn than 30 years ago, its unearthed relics have interested many researchers to study.
There are only five years between the burial of Number 1 tomb and that of Number 3 tomb, and their tomb owners are mother and son. The presence of Number 3 tomb’s silk painting is earlier than that of Number 1 tomb’s, so it is obvious that Number 3 silk painting is the precedent version of Number 1’s. Both of the paintings present three parts on them: heaven, world and underworld. In spite of their similar size and content, there are still many other details different from each other. Few researchers take such approaches; therefore, there is still much room for researchers to study Manwangdui Number 1 tomb and Number 3 tomb’s T silk paintings.
With the analysis and comparison between Manwangdui Number 1 tomb and Number 3 tomb’s T silk paintings, this study’s findings are as follows:
1. On the part of the heaven, there shows the daylight scene with nine suns on Number 1 painting; whereas, on Number 3 painting, there shows the night scene with numerous stars. The former represents the wish for the Marquis of Dai to have many sons in the afterlife, and the latter refers to organizing a hierarchical society in the heaven so that the power of the tomb owner can last till the afterlife. 2) On the part of the world, the number of dragons cannot be neglected. It shows that in addition to phoenixes, dragons are also given special power to lead Chu people’s spirits to the heaven through rituals in the world. 3) On the part of the underworld, the appearance of fou’s at the bottom of Number 3 painting shows that it contains more natural quality of folk life than Number 1 painting does.
2. The characteristics of figure design in the two silk paintings represent the concept of respecting heaven and soul at that time. The figure designs of many people and animals are profiles, which shows the mainstream painting. As for the techniques of line and color, the lines of the paintings are fluent, and the colors are based on Yin-Yang Wuxing , associated with the concept of five-color worship and Wuxing directions,which represent the typical painting of common belief in Western Han Dynasty.
3. On the two paintings, the support structures for chimes are carved as birds, and the support structures for bells are carved as Pi-Hsiou( a mythical wild animal) or humans in the nude, going with the decorations of dragon or snake figures on the beam of the support structure. It proves the depictions in the literatures are true, shows the aesthetic perspectives in that age, and adds a new field for people to understand Chinese art.
After comparing the two silk paintings, one can find that the themes of the paintings, the heavens, Nu Wa, soul flying, and rituals all reflect the differences among time and space, tomb owner’s sex, living surrounding and psychology. It shows that the abstract thought, aesthetic awareness and figure design skill at that time have achieved high artistic standard.
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