來自儒家經典的明器，在唐、宋之際出現轉折，盛極一時的陶俑隨葬風氣在晚唐衰微了，華北墓葬罕見陶俑。經由系統性整理出土宋墓，本研究發現陶俑雖不見於華北宋墓，但在四川、江西、福建仍普遍可見，四川更是宋代三彩陶俑的中心。從四川宋墓出發，本文追蹤中晚唐長安葬俗移植四川的情況。首先從唐、宋禮制規範可知，明器仍為葬禮所需，當華北改用紙明器時，四川持續使用陶俑，顯示出對於傳統的固守。其次分析四川陶俑的類型與來源，其中以唐代關中因素最為突出，成都的鎮墓真文券更說明從長安向四川的人群移動。最後結合墓誌，討論墓葬所見與文獻所載玄宗、僖宗入蜀的關聯，釐清這兩波移民如何塑造、重塑四川的喪葬傳統。

Mingqi is a distinctive Chinese category of burial objects that originated in classical ritual texts and was continually regulated by sumptuary laws issued by the government. Pottery tomb figurines constituted one of the most prominent types of mingqi, including the famous three-color glazed sancai, which marked the superior status of tomb owners and flourished in North China during the seventh and eighth centuries. These pottery figurines, however, experienced a sharp decline in the ninth century. During the Northern Song dynasty, they almost disappeared from burials across North China, suggesting a transformation in the use of mingqi during the Tang-Song transition. A comprehensive examination of excavated Song tombs reveals that, while pottery figurines were absent in tombs from North China, they continued to appear in Sichuan, Jiangxi, and Fujian. Notably, many figurines from Sichuan were coated with sancai glaze, making it a major center for mingqi pottery figurines during the Song. This study investigates the role Sichuan played in burial culture during the Tang-Song transition by examining tomb figurines and other burial objects, particularly tomb-quelling stones bearing Daoist talismanic inscriptions used in Sichuan during the Song period. It traces the evolution of mingqi burial culture after the ninth century and considers how recurrent waves of immigrants from Chang’an, as recorded in tomb owners’ epitaphs, contributed to the shaping and reshaping of layered burial customs in Sichuan.

明器陶俑;鎮墓真文券;買地券;墓誌;唐宋變革

mingqi pottery figurine; tomb-quelling stone; land deed; epitaph; Tang-Song transition