《正統道藏》本《三才定位圖》研究－北宋徽宗朝的道教宇宙神譜

北宋張商英繪製的《三才定位圖》，是現存年代較早的道教神譜圖像，被視為瞭解宋代道教藝術以至神學的珍貴作品。但由於收錄在明《道藏》的版本殘缺，其圖像和文字解說又有不符之處，故學界對該圖的解讀一直存在爭議。本文目的有二，一是通過探討《三才定位圖》的創作背景和目的，分析該圖的圖像內容、結構和背後的宇宙論，藉以重新審視該本圖像的合理性。二是透過對《三才定位圖》的個案分析，探討在明《道藏》中宋代道經的圖像的可信性。本文將提出《三才定位圖》的神譜設計，是以《度人經》的宇宙觀為基礎，透過融合不同道派的傳統，建立《三才定位圖》中天真皇人、靈寶君和聖祖的關係。其主要目的，是要確立一個融合各道派並與國朝合一的宇宙神譜，並強調趙氏聖祖度人救世的特質。該圖的核心觀念，皆藉由圖像表達，當被視為北宋瑞圖文化下的產物。

關鍵字

道藏；神譜；徽宗；版畫；度人經

並列摘要

”Sancai dingwei tu (Illustrated Pantheon of the Three Spheres)” produced by Zhang Shangying (1043-1121) is one of the earliest extant paintings of the Daoist pantheon and is considered as a precious document on Daoist art and theology of the Song dynasty. However, the only extant version preserved in the Daoist Canon of the Ming dynasty is incomplete and there are discrepancies between its images and text. Hence, how it should be understood remains debatable. The aims of this paper are twofold. First, it seeks to assess the validity of the present version of the ”Sancai dingwei tu” by analyzing the images of the deities, the structure of the pantheon and its underlying cosmology in relation to the specific political background and the probable intentions of its production. Second, based on the case study of the ”Sancai dingwei tu”, this paper considers the extent to which illustrations of Song dynasty scriptures preserved in the Ming Daoist Canon are faithful to their Song originals and can be treated as Song dynasty visual materials. This paper will argue that the structure of the pantheon as shown in the ”Sancai dingwei tu” is based on the cosmology of the ”Duren jing (Book of Salvation)”. In the painting, the relationship between the three main deities, Tianzhen huangren, Lingbao zun and the Holy Ancestor (Shengzu), are established through the integration of different Daoist traditions. The main purpose of the painting is to establish a pantheon that represented the union of various Daoist sects and the state, meanwhile highlighted the characteristic of the Holy Ancestor of the Zhao ruling family that brought salvation to mankind and prosperity to the state. The ”Sancai dingwei tu” expresses these core ideas primarily through images and should be seen as a product of the craze for auspicious images in Northern Song times.