梅山文化圈祭祀画中“四界功曹”图像探究——兼论其与长沙楚墓战国帛画之间的关联

On Image of “Officials of Four Worlds” in the Sacrificial Painting of Meishan Cultural Circle:Also on its Relation with the Paintings on Silk Unearthed in Changsha from the Tomb of Chu in the Warring States

受楚巫文化影响,湘中古梅山地区巫鬼信仰盛行并延续至今。梅山文化圈清代以来的梅山图、大道桥、神像画、牌位画、巫衣画等多种祭祀画中均发现“四界功曹”图像,与道教值年、值月、值日、值时的“四值功曹”有别,梅山文化圈“四界功曹”的职责是依梅山师公之令,前往天界、地界、水界、阳界延请四界神灵亲临坛场。从图像、功用、人物身份等方面考察,梅山“四界功曹”乃是楚地战国《人物御龙帛画》《人物龙凤帛画》信仰与祭祀传统的余绪。

Influenced by the witchery culture of Chu, the belief of ancient Meishan witches in central Hunan prevails and continues to this day. Since the Qing Dynasty, the images of “officials of four worlds” can be found in various sacrificial paintings, such as Meishan map, avenue bridge, idol painting, tablet painting and witch garment painting. Different from the officials in Taoist who value the year, the month, the day and the hour, the duty of the “officials of four worlds” in Meishan cultural circle is to go to the heaven world, the nether world, the water world and the present world to invite the deities of the four worlds to make personal appearance to the altar. From the aspects of image, function and identity of characters, the “officials of four worlds” in Meishan is the remnant of the belief and sacrificial tradition in “Silk Paintings of Riding a Dragon” and “Silk Paintings of People, Dragon and Phoenix” in the Warring States of Chu.