汉画像石“风伯拔屋图”含义试解

A Trial Explanation on the Connotation of the Scene of “God of Wind Overturning the House” in the Pictorial Stones of the Han Dynasty

通过梳理汉画像石早期风伯拔屋图的构图规律,并与孝堂山祠堂风伯拔屋图及其新增内容进行结合研究,可以认为,风伯拔屋图背后秉持的是天文星官语境下的东宫角宿天门信仰,即箕宿风伯行请谒、天门二星待客应对,这一信仰也在先秦秦汉时期的文学升天描述中得到反映。风伯拔屋含义的模糊,与其自身流传不广、东王公信仰后来居上的宗教与社会背景相关。

By summarizing the composition rules of the scene of ＂God of Wind overturning the house＂ in the early pictorial stones of the Han Dynasty and referring to the scene of ＂God of Wind overturning the house＂ in the Xiaotang Hill Shrine and its new-discovered contents, it can be believed that the scene of＂God of Wind overturning the house＂ is the reflection of the belief of the Jiao Mansion of the ＂East Palace （the east seven mansions of the 28-mansion constellation system）＂ as the Gate of Heaven in the context of the ＂star official （determinative star of each constellation）＂ system of astronomy. According to this belief, the Ji Mansion of the East Palace, which was the God of Wind, was in charge of audience, and the two stars of the Gate of Heaven were in charge of receiving the guests. This belief was also mentioned in the description of ascending immortal in the literature of the pre-Qin period and the Qin and Han Dynasties. The ambiguity of the meaning of ＂God of Wind overturning the house＂ was related to the religious and social backgrounds of its narrow spreading and the predominating of the Dong Wang Gong （King Duke of the East） worship in the later time