近年來對漢代畫像石的研究中，普遍爲學者所注意的神祇圖像有「伏羲、女媧圖」與「西王母圖」等，但除了神祇圖像與漢人的生死觀、宇宙觀有密切關係外，另一個值得關注的重點即是神山圖像。歷來學者論及漢代畫像石中的仙界圖像時，亦多以山峰造形之圖像爲崑崙山，並以西王母端坐之聳立三峰即爲崑崙神山，象徵著崑崙仙山以及不死的企慕。雖然西王母與崑崙山間之聯繫，可見於先秦兩漢的傳世文獻記載中，但在漢代畫像石中的山峰或神山圖像，是否皆一定都是「崑崙神山」，或屬「崑崙神山」系統的「懸圃」？此一論題有進一步思考的空間。本文探討漢代畫像石中神山造景的空間佈局，分別有垂直與水平不同的空間佈局，進而分析漢代畫像中的崑崙山與蓬萊山的圖像及其象徵意涵。

Recent studies in Han iconography have focused on the icons of Fu-hsi, Nu-kua and Hsi-wang-mu. They have uncovered the close relationships between the icons of gods and the immortality and cosmonology perceptions of Han's people. However, the icons of sacred mountains are worth of more attentions. In this paper, we discuss the icons of sacred mountains in relief stone sculpture of Han tomb, such as Kun-lun and Peng-lai. They had long been seen as the representations of western and eastern paradise. We find that the sacred mountains could be distinguished by their vertical or horizontal layouts: The vertical layouts for Kun-lun and the horizontal layouts for Peng-lai.