真形、神圖與靈符 —— 道教三皇文視覺文化初探

本文主旨在探討道教的視覺文化。從六朝道教經典當中，來探討道教對「圖」、「符」與「文」的看法，並從中勾勒出道教經典當中對道教圖象的思維。道教「圖」、「文」的論述對道教的圖象思維起著關鍵性的作用。從本文分析的脈絡來看，我們有必要重新思考原來這種架構在藝術史與美術館研究的區分標準，將圖象的範圍放寬，並從道教的理路來思考，借用視覺文化的取徑，建立道教的視覺文化。本文從六朝唐代道教經典當中涉及圖文的論述中展開討論，期望從根源當中理解道教的圖象思維。本文以四世紀到八世紀的三皇文為主要考察文獻，並涉及天師道、上清、靈寶等傳統的文獻，而對道教視覺文化的討論將從七個面向展開：一、真形；二、存思；三、身體內化；四、聖化；五、空間結構；六、儀式脈絡；七、功能與聖顯。從不同面向對道教視覺文化的討論可以發現，這七個面向呈現道教視覺文化的多重層次，也使我們對早期道教當中的圖象思維有嶄新的理解。

關鍵字

道教視覺文化；真形；神圖；靈符；三皇文

並列摘要

This paper explores the concept of Daoist Visual Culture, and further considers Daoist attitudes towards the definitions of ＂image.＂ It also explores Daoist attitudes towards images, talismans, and texts in Daoist scriptures, and from there outlines concepts related to Daoist images in Daoist scriptures. Descriptions of ＂images＂ and ＂texts＂ in Daoist scriptures provide key insights to the creators’ visual thinking. We need to reconsider the definition of image in art history and establish the visual culture of Daoism according to Daoist concepts. This article analyzes the Daoist image based on the discussion of pictures and texts in Daoist scriptures during medieval China. The main references in this paper are the Sanhuang Wen, or Writs of the Three Sovereigns scriptures and the Celestial Master, Great Purity and Numinous Treasures scriptures from the fourth to the eighth century. This paper will investigate the visual culture of Daoism from seven different perspectives: 1. True Form; 2. Visualization; 3. Embodiment; 4. Empowerment; 5. Space; 6. Ritual Context; 7. Functions. Building on these perspectives, this study reveals new understandings of visual culture in early medieval Daoism.