汉代图像艺术十分发达，对宇宙空间和生死两界的表现是其中的重要内容。在汉代，由于其哲学比先秦时期更感性、更具象，具有将抽象世界把握为图像的鲜明特征，这使汉代图像艺术与哲学在宇宙空间表现方面高度契合。本文研究汉画像中的宇宙观，就是试图打通汉代艺术研究和哲学研究长期存在的边界，进而获得对汉代天地人神之思的一体性看法。 汉画中的宇宙观可分为三个部分：气本体论，天上世界和神仙世界。气本体论盛行于汉代，强调气是万物的本原，气化运动是宇宙运行的规律，而气类相感则使天人、万物联系在一起。在汉画像中，气表现为云气，是画面中的基本元素，而云气主要出现在天上世界或人世的边缘，说明云气是天之气的显现，对人世形成包裹状态。天上世界有两点体现，即阴阳五行的象征和天降的动植物祥瑞，这体现了汉代的阴阳五行学说和天人感应思想。其中，阴阳五行是汉代宇宙的基本秩序，天人感应则突出了人在宇宙中的位置，并强调天与人的联系。汉画像中的祥瑞是天对人的褒奖，也是人对吉祥美好的祈愿。神仙世界与人对长生的期盼有关，人要在彼世为自己开辟出一块遥远的乐土。在汉画像中，神仙世界表现为庞大的神仙体系以及墓主、祠主升仙图，又包括昆仑山和西王母等重要母题，以及《山海经》中的神怪等。 由于汉画像与汉代宇宙观的密切联系，我们可以借此概括出汉代宇宙观的特点：首先是哲学的具象化，这源于汉代哲学本体论的下降，表现为气、阴阳等概念的图式化；其次是哲学思考的整体性，即包罗万象，囊括天、地、神、人，融合时间、空间等；第三是宇宙观念的人化，即人从自身的角度来看待和解释天地万物，自然与宗教、科学与神话融为一体。这种图像性的对宇宙空间的看法，为理解汉代图像艺术与哲学的互动，以及对天地、生死、人神世界的表现，提供了深厚的土壤。

The image art of Han was in a prosperous situation, which mainly presents the universe and the world between the living and dead. For Han’s philosophy was more perceptual and visual than the pre-Qin period, which demonstrated the abstract world as images, the presentation of the universe in Han’s image art and the illustration of universe in Han’s philosophy was highly correspond. This thesis tries to find Han’s cosmology in Han’s image art, and its purpose is to break the boundary between the study of Han’s art and Han’s philosophy, and then grasp the opinion of the integration of heaven, earth, man and gods in Han dynasty. Han’s cosmology presented in image art is constituted by three parts, Qi ontology, the world of heaven, and the construction of the immortal world. Qi ontology was very popular in Han’s philosophy, which insisted that Qi was the origin of the world, and the motion of Qi was the law of universe. The synesthesia between same Qi related nature, human and other living things. Qi ontology can be seen in Han’s image art by many patterns of clouds. The clouds often appears in the world of heaven or the margin of human world, which indicates that Qi is the demonstration of Tian, and surround human world. The world of heaven shows in two ways, the symbol of Yin-Yang Wu-Hsing theory and the auspicious signs of heaven. Yin-Yang Wu-Hsing is the order of universe and the interaction between heaven and mankind emphasizes the importance of human in the universe, and manifests the close relation between human and heaven. The auspicious signs of heaven can be seen as Tian’s praise and people’s wishes. The establishment of immortal world is related to people’s eagerness of longevity and immortality. They create a new world far away for a happy life after death. In Han art, we can see a paradise where plenty of immortals live, including Queen Mother of the West in Kunlun Mountains and several gods and spirits in The Classic of Mountains and Seas. There are also some Han stone reliefs that presents people becoming immortals. Due to the connection between Han’s image art and Han’s cosmology, we can generalize the characteristics of Han’s cosmology as well as Han’s philosophy. First is the visualization of philosophy, which originates from the descent of ontology, and manifests as the visualization of philosophy’s concepts such as Yin-Yang and the pursue of fill up the picture. Second is the integrality of Han’s cosmology. In Han dynasty, heaven, the immortals, human and ghost existed in the same world, and time was mixed together with space. The last is humanistic cosmology, for people see the universe and illustrate it by their own needs. By this way, nature and religion, science and myth were combined together. The visualized opinion on the universe provides interaction between Han’s image art and Han’s philosophy, as well as the demonstration of heaven and earth, living and dead, human and gods.