@article{oai:tobunken.repo.nii.ac.jp:00006190,
 author = {鄭, 岩 and 加藤, 直子 and Zheng, Yan and Kato, Naoko},
 issue = {395},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Aug},
 note = {This essay considers the issue of audience for Han dynasty carved pictorial images in tombs and offering shrines.
     First, the essay explores the question of audience for offering shrine carved pictorial images. Given the functions of an offering shrine, two types of audience arise for offering shrine pictures, namely the deceased and the participants in mortuary rituals, such as the family of the deceased, their underlings and disciples. The inscription records of offering shrines also note a third type of audience, namely the “wise men, virtuous men and other gentlemen of the world,” in other words, the members of the shidafu, or scholarbureaucrat class. The records also list “the horses, goats and sheep in the fields and servants.” These inscriptions reveal the following information. The people who funded such pictorial images were aware of the people who donate inscriptions for the offering shrines that had a public function in the community, while centered primarily on the rites of a single family or clan. Offering shrines multiplied and changed during the late Eastern Han dynasty; these developments were related to the Ju xiaolian system of standards for government official promotions based on Confucian moral ideals such as filial piety and integrity. All those who sought official positions had to first gain a reputation for filial piety in the eyes of society. One impact of the system was a rise in cases in which those seeking public appointments held lavish funerary rites when a parent died, even if they had not been particularly caring toward the parent during his or her lifetime. Offering shrines were above ground, open structures that were well set up for viewing and could be used to show a person’s filial piety to the masses.
     In contrast to offering shrines, tombs were closed spaces. Further, the people of the day acknowledged that the deceased was the principle viewer of the various types of pictorial images on the interior. However, the inscriptions written on the outer side of the gate of an Eastern Han dynasty tomb in Shanxisheng, Xunyixian, Baizicun, reveal that there were cases in which the tomb chamber was open for public viewing after the images had been completed and prior to the burial of the tomb’s occupant. It is possible that this practice was also linked to the system of filial piety and integrity then in practice. In addition there was an even more complex phenomenon in the Liangwang-ling tomb of the Western Han dynasty, excavated at Henansheng, Yongchengxian, Shiyuan. Originally the upper area of this tomb had a wooden ceiling that may have obscured the wall decorations. In other words, this structure would have prevented those who attended the funerary rites and entered the tomb chamber from seeing the images on the walls. One possibility is that these images were intended solely for the gods. In other words, this would create a type of mutual functionality in which the audience and the pictorial images complement each other within the context of a certain ritual. The question of audience is related to the function of tomb arts and an understanding of their subject matter and thus is a fundamental issue in the research of Han dynasty pictorial images. Further research on this subject is necessary.},
 pages = {1--19},
 title = {漢代喪葬画像における観者の問題},
 year = {2008}
}