本文以孝行與感應的相關性為線索，在視覺分析的基礎上，嘗試由較廣義的宗教脈絡來重新認識孝子傳圖。藉由分析北朝漆棺、石棺孝子傳圖中的重層敘事性，留意工匠／喪家如何選擇並重組複數孝子故事來形成敘事的序列，並藉由北朝漆棺、石棺的形制等因素來解釋起首孝子傳圖的特殊性。本文將樹木視為孝感的重要表徵，闡述木連理如何能強化感應。這批孝子傳圖中的木連理、鳥獸或是天界圖像，並非根據《孝子傳》文本，而是工匠綜合各類祥瑞母題並吸收佛教藝術傳統所重新塑造而成，以做為感應敘事的視覺框架。本文考察在孝行的脈絡中感應如何被加以視覺化，藉以闡述此問題對於認識北朝石棺孝子傳圖的重要性。

This article analyzes the three-level narrative structure of the images of the biography of filial offspring in the sarcophagi of the Northern Dynasties, examines how the craftsmen and the bereaved families selected and reorganized the images of the biography of filial offspring to form a sequence, and explains the importance of the stories at the beginning by using the shape of the Northern Dynasties sarcophagi, which is high in front and low in the back. They can be divided into two categories. The first category includes Guyuan lacquer coffins and the sarcophagus preserved in the Nelson-Atkins Museum of Art in Kansas City, USA. According to the ranking in “The Biography of Filial offspring”, Shun is the most honorable. The second category is represented by the Yuan Mi sarcophagus in the Minneapolis Institute of Arts, which places Yuan Gu and Ding Lan at the beginning. One of the characteristics of the Northern Dynasties’ filial piety images is the emergence of tree and stone motifs, and the model of figures under trees is widely used to shape the sensory space. The intertwined trees, birds, beasts, or celestial images depicted on those sarcophagi are not based on the text of “The Biography of Filial offspring”. The craftsmen combined various auspicious themes related to mourning and tomb-building, and referred to the traditions of Buddhist art to reshape the visual framework of the narrative of resonance. The central question of this study is how resonance was visualized in the images of the biography of filial offspring of the Northern Dynasties.

北朝;感應;石棺;孝子傳;孝子傳圖

Northern Dynasties; resonance; sarcophagi; the biography of filial offspring; the images of the biography of filial offspring