武梁祠石刻画像是东汉时期位于山东嘉祥县武梁墓前的墓室石刻画像。巫鸿认为武梁祠画像延续了西汉时期《史记》的结构，但相对于《史记》明显多了东汉时期的思想。武梁祠画像以帝王画像为始，以墓主武梁本人的画像——“县功曹”向一位“处士”致敬为终。这种观看结构与《史记》同样始于帝王本纪终于史家本人的“太史公自序”的结构极为相似。二者都将自己放在历史之中全程观看、诠释、并参与历史的“最后一章”。对比《史记》不难发现，杰出的历史人物是司马迁和武梁最基本的出发点，人物的选择与组织结构最为关键，也是研究的切入点。 本文试图从叙事学出发，通过比较作为“图像历史”的武梁祠画像与文本历史的《史记》在叙事结构上的空间对应性来更好地理解武梁祠画像，对武梁祠图像的组织和整体图像结构的分析将展开对汉代艺术中的空间性特征的理解。另外，在汉代“艺术家”这个概念自觉形成的过渡阶段，“个体意识”体现在武梁祠画像中对题材的选择和组织上，表达了设计者不仅在于表现单独的历史人物和故事，更重要的是对探索和展现历史发展模式的兴趣，和对伦理、道德和政治问题的特殊思考。这种对应研究说明武梁祠画像作为图像叙事时在空间性和时间性上的并重，为重新释读武梁祠画像提供了一条途径。 具体的探讨将同时对武梁祠图像和《史记》中的叙事结构进行双线分析，针对两个主要问题展开：一是武梁祠作为图像叙事的空间性和时间性结构，和《史记》的历史叙事结构层次；二是这种空间性叙事结构的成因以及叙事者在叙事中的出现和参与。其中比较重要的问题是如何将散乱的材料组织编排成秩序化的画面或文本的社会历史成因；叙事结构本身所具有的独特意义；图像叙事与历史文本叙事之间的对应与转换关系；作品中体现的个体意识、怀疑精神和历史观。

The stone portrait of Wuliang Temple is a stone carving portrait of the tomb in front of Wuliang Tomb in Jiaxiang County, Shandong Province during the Eastern Han Dynasty. Wu Hong believes that the paintings of Wuliang Temple continued the structure of "Historical Records" in the Western Han Dynasty, but compared with "Historical Records ", there were more thoughts in the Eastern Han Dynasty. This kind of viewing structure is similar to the structure of the historical chronicle, which began in the imperial period and finally began in the imperial period. Both put themselves in history to watch, interpret and participate in the "last chapter" of history. It is not difficult to find that the outstanding historical figures are the most basic starting point of Si Maqian and Wu Liang, and the selection and organizational structure of the characters are the most critical and the starting point of the research. Wu pointed out that the two are similar in narrative structure, but did not discuss the corresponding specific performance and reasons in detail . Based on narratology, this paper tries to better understand the picture of Wuliang Temple by comparing the spatial correspondence between the picture of Wuliang Temple as "image history" and the history of the text. In addition, in the transitional stage of the conscious formation of the concept of "artist" in the Han Dynasty ," individual consciousness "is embodied in the selection and organization of the subject matter in the paintings of Wuliang Temple, which expresses the designer's interest not only in expressing individual historical figures and stories, but also in exploring and displaying the mode of historical development, and in special thinking on ethical, moral and political issues. At the same time, we will analyze the narrative structure of Wuliang Temple and the Historical Records in two ways: one is the spatial and temporal structure of Wuliang Temple as the image narrative, the other is the origin of this spatial narrative structure and the appearance and participation of the narrator in the narrative. The more important questions are the correspondence and transformation relationship between the image narrative and the historical text narrative; and the individual consciousness, skepticism and historical view embodied in the works.