以丹青寓吉凶—《天竺靈籤》圖文關係與圖像解讀

南宋本《天竺靈籤》因為較早的成書年代、圖文並茂的內容以及書本形式的裝幀，受到世人注意。為了理解這件作品在美術史中的位置，本文嘗試以各種面向切入《天竺靈籤》的討論，包含版本、內容來源、圖像風格與圖像義涵。過去的研究大多聚焦於南宋本，對於其他版本或是版本之間的關聯則較少討論。因此，第一章連結了《天竺靈籤》的各種版本，試圖觸及此研究課題內的各種版本，包含較為人知的南宋本、近年陸續有圖版釋出的洪武本，以及日本學界熟知且公認來自《天竺靈籤》的《元三大師百籤》。《天竺靈籤》使用了圖文並呈的形式，而非現今常見的僅以文字呈現的詩籤。經檢索宋代算命的研究資料以及相關史料，可以確認始自北宋中期一種名為「軌革卦影」的算命術，在內容與形式上應該相當程度地影響了《天竺靈籤》。透過比對兩者的圖、文內容，可以確認《天竺靈籤》汲取了部分「軌革卦影」術使用圖像來表現算命結果的形式。對於《天竺靈籤》版畫的研究，可分為對籤圖的風格、題材或圖像涵義的討論。第三章從籤圖的風格和題材出發，發掘當中來自南宋繪畫的風格與題材，用以框圍《天竺靈籤》製作的時、地。進一步，鎖定刊刻洪武本的書坊，尋找此書坊活動的時期以此推敲南宋本《天竺靈籤》的出版者。最後，回到學界討論最多的，對於《天竺靈籤》圖像涵義的詮釋。除了解釋單一圖像的涵義之外，本文將《天竺靈籤》圖像常見的變化方式分類，歸納出畫面中圖像組合與構圖的邏輯。《天竺靈籤》使用象徵性圖像的作法不僅在後世被繼續沿用，各種圖像也是南宋視覺文化的呈現。

關鍵字

天竺靈籤；南宋版畫；視覺文化；圖像研究；軌革卦影

並列摘要

The Southern Song edition of Tianzhu lingqian was known by people due to the relatively early date, the form of both text and picture, and the book form of it. The editions, source of content, style and meaning of images are issues of this paper, aim to help positioning the book in the history of art. Past researches focused mainly on the Southern Song edition, and less discussion were made to other editions or association between the editions. Therefore, the first chapter links different editions of Tianzhu lingqian, includes the well-known Southern Song edition, Hongwu edition (1385) partially released in recent years, and Genzan Daishi omikuji mostly known and recognized by Japanese scholars.The content of Tainzhu lingqian includes both image and text which is seldom to be seen in present days. By searching the researches of divination history and literatures of Song Dynasty, it can be confirmed that a fortune-telling technique called Guige guaying practiced since the middle of Northern Song should have affected the content and form of Tianzhu lingqian. Studies of the images of Tianzhu lingqian were generally based on two ground, one was of the style and theme, the other was of the meaning. The third chapter starts with the style and theme of images in Tianzhu lingqian, explores its connection with Southern Song painting, which helps to narrow down the time and space of its production. Further, the publisher of Hongwu edition gives a clue to look for the publisher of Southern Song edition, through its publications and active years. Finally, the most discussed issue of Tianzhu lingqian is the interpretation of the meanings of images. In addition to the interpretations, this paper classifies the common changes, and sorts the general types of combination and composition of the images. The use of symbolic images in Tianzhu lingqian not only adopted by books in later dynasties, but also presents the visual culture of the contemporaries.