本文題為〈馬王堆一號墓與砂子塘墓葬具之「璧翣」圖像研究〉，本文關注之處在於馬王堆一號墓與砂子塘墓葬具上的「璧翣」圖像比較研究，本文指出，文獻中載有兩類「璧翣」：其一，作為喪葬旌旗之飾；其二，作為樂懸之飾。本文認為，馬王堆一號墓與砂子塘墓葬具上的「璧翣」圖像，乃是結合周代禮制中關於葬具的裝飾與編鐘、編磬等樂器木架裝飾而成的一種圖像，具有「璧珩」、「絲織物」、「鐘磬」與「或龍、或鳳、或虎豹」四個重要元素。「璧翣」圖像是漢代初年楚地上層貴族葬禮中一種具有重要意義的圖像，本文運用傳世文獻與出土文物互證之二重證據法，揭示出上述兩墓葬具上「璧翣」圖像的底蘊。

This project is about the study of the Bi-Shà images narration in Changsha Manwangdui Number 1 Tomb's Paints the coffin and Changsha Shazitang Tomb's Paints the coffin. The article will focus on the study of the Bi-Shà images narration.I think there are 4 important reasons about the study of the Bi‐Shà images: the jade semi-annular pendants, the silk fabrics, the chimes and the propitious animals just like the dragons, the phoenixes, the tigers or the leopards. Bi-Shà in Manwangdui Number 1 Tomb's and Shazitang Tomb's are the images that combine the accessories, the bells and the chimes in the funeral tools in Chou dynasty. Bi-Shà is a very meaningful images to the nobles in the funeral early stages when Han dynasty. I use tertiary evidence that the literatures handed down for generations, the unearthed literatures and the unearthed relics to combine Iconography, Iconology method, and try to explain the Bi-Shà images of the 2 tombs. The dead of the tomb would be protect and be peaceful in the underworld, or to pray the soul can ascend to heaven, and can communicate with the dead when worship by Bi-Shà.