漢畫像風伯形象研究

Abstract

本文以漢畫像中的「風伯」圖像作為研究內容，從漢代氣化宇宙論、升仙信仰、天人災異、讖緯之學、禮俗文化……等層面探討傳世文獻未載的風伯形象。本文第二章首先整理漢畫像風伯圖像的出土狀況，對其出土區域分布、所屬墓室祠堂、圖像流行時代、墓室祠堂中的位置安排進行梳理，並將風伯圖像依構成元件分類為四類以利於後續討倫，且進一步論述各家學者對於風伯圖像意涵的詮釋問題。第三章，探討漢畫像中伴隨神車的風伯圖像以及與自然神並置的風伯圖像，發現風伯圖像在此兩分類中都作為次要元件。風伯吹送神車，具有護衛墓主、導引升仙的意涵，同時亦有輔助雷公、天帝施行天罰的功能；風伯與眾自然神靈並置，則是一同營造風調雨順、寧靜和諧的天界場景，並且還可以發現風伯與雨師有一常置的範式組合。第四章，探討風伯拔屋圖，風伯在此已作為格套圖像的必要元件，但整體情節意涵並非如學界所稱風伯拔屋是為協助墓主魂氣升天升仙，而應從天人災異的角度來理解：風伯吹氣拔屋代表天之告誡，而屋中之人則代表君子或是墓主本身，呈顯天人災異思想中「敬天省己」的意涵。此外，亦從中論述此圖之空間配置、方位對應、圖式衰落原因，補足前人未及之處。第五章，探討與星象結合的風伯圖像，可以發現風伯在此屬於天象圖之一，其形象應來自於歷代風神演變的最終結果──箕星的人形化，而人形身體的種種外在特徵則是基於古人「宇宙配於人身」的原始認識，不過後世風伯形象又隨著民間道教信仰之興盛而有所轉變。另外，風伯祭祀地位的變化與漢畫像圖式的流行正好相符，呈現「低－高－低」的起伏變化，而隨著風伯在道教體系中「司風」特殊性的減弱，風伯最終成為民間較為普通的自然神祇。This article focuses on the image of the"Wind Bo" in Han dynasty portraits and explores the depiction of Wind Bo, which is not documented in existing literature, from various aspects such as the cosmology of Qi in the Han dynasty, beliefs in ascending of celestial being, thoughts of disasters and anomaly, the study of chenwei, and ritual customs and culture.Chapter 2 of this article begins by organizing the excavation status of Wind Bo images in Han dynasty portraits. It examines the distribution of excavated areas, the tombs and ancestral halls to which they belong, the popularity of the images during different periods, and the positioning within the tombs and ancestral halls. The Wind Bo images are classified into four categories based on their constituent elements, facilitating further discussions. Additionally, the interpretations of the symbolic meaning of the Wind Bo images by various scholars are further discussed.Chapter 3 explores the Wind Bo images accompanying the divine chariot and those juxtaposed with nature gods in Han dynasty portraits. It is discovered that Wind Bo images serve as secondary elements in both categories. Wind Bo blowing the divine chariot signifies the protection of the tomb owner and guiding them in ascending to immortality. It also has the function of assisting the Thunder God and the Heavenly Emperor in executing heavenly punishments. Placing Wind Bo alongside other nature spirits creates a heavenly scene of harmonious conditions. Furthermore, a frequent combination is observed between Wind Bo and the Rain God.Chapter 4 discusses the depiction of Wind Bo overturning the house. In this case, Wind Bo is an essential element in the composition of the image, but the overall significance is not solely to assist the soul of the tomb owner in ascending to heaven and immortality, as commonly believed in academia. Instead, it should be understood from the perspective of thoughts of disasters and anomaly. Wind Bo blowing air to overturn the house represents a divine warning, while the person inside the house represents a gentleman or the tomb owner themselves, highlighting the concept of"respecting heaven and introspecting oneself" in the context of thoughts of disasters and anomaly. Furthermore, this chapter elaborates on the spatial arrangement, directional correspondence, and reasons for the decline of this image pattern, filling in the gaps left by previous research.Chapter 5 explores the integration of Wind Bo images with star charts. It is observed that Wind Bo is one of the celestial images in this context, derived from the evolution of wind gods throughout history, ultimately representing the personification of the constellation Winnowing Basket(Kei). The external characteristics of the human-shaped body are based on the ancient understanding of"the universe reflected in the human body." However, the image of Wind Bo has undergone transformations due to the rise of folk Taoist beliefs. Additionally, the changes in the status of Wind Bo's worship align with the popularity of Han dynasty portrait patterns, showing a fluctuating trend of "low-high-low." As the unique role of Wind Bo as the "governor of winds" in the Taoist system weakened, Wind Bo eventually became a more common nature deity in folk beliefs.