西漢中期以降的帛畫與畫像石之上，或見婦女負子操作籆板、紡車與織機的相關圖像，吸引學者關注，然有未解之處，大體有五。其一，歷來多論織機，缺少籆板與紡車的考述。其二，籆板誤為木槌，紡車誤為車輪，導致紡紗為主的紡織圖像誤為造車畫像。其三，紡織或與牛耕同現，誠如平陰畫像石與宏道院祠堂，然不嚴格，尚未形成固定圖示。其四，紡織圖像大多集中魯南、蘇北的祠堂畫像石，富含文化意義。其五，展示生產技術從而滿足死後世界的豐衣足食之外，紡織圖像尚有喪葬禮俗的相關意涵。因此，本文將以漢畫紡織圖像為中心，首先辨明籆板、紡車以及織機諸物之圖像，完成紡織圖像的名物辨別。其次，歷時比較西漢乃至東漢的圖像演變，一則呼應前述的名物考證，二則確立漢畫紡織圖像的藝術表現─從象徵到描述，三則探討紡織圖像的溯源、轉換與影響。最後，比對紡織圖像與整體墓葬美術的裝飾情境，分析紡織圖像與漢代喪葬禮俗的推移。

After the period of Western Han dynasty, some images of spinning wheel and loom were engraved on pictorial stones. These images were very concerned by many scholars. However, the name and the function of these images were unclear. Therefore, first, the article will research the correct name of these images. Second, the article will analysis the characteristic of artistic expression of these images. Finally, the article will be study the meanings of the image of textile in Han Dynasty.