明代中晚期道教五嶽真形圖之研究

Abstract

本文探讨的明代中晚期的「五嶽真形圖」，意指描绘五岳真形的圖像，指涉的是大量出現在明代中晚期器物上的一種表現五嶽的具有道教色彩的紋飾。所谓「五嶽」指的是矗立於中國的五座名山和聖山，為東嶽泰山、西嶽華山、中嶽嵩山、北嶽恒山、南嶽衡山。而「真形」在道教中指的是事物本質真正的存在方式的形狀，其特點是變化莫測、難以捉摸。描绘「真形」的图像即为「真形图」。以往研究雖然注意到了有多個系統與樣態的五嶽圖像系統，但本文所探討的《正統道藏》中未曾出現的「五嶽真形圖」的來源仍然不明。筆者遵從以往學者判斷，推測這應當與宋明新興道教派別與金文/篆體在其時的流行有關，但因證據不足仍有待進一步探討。「五嶽真形圖」圖像具有濃烈的道教色彩，其間的神秘符號又類文字，令人聯想起漢代「五嶽真形圖」起源的傳說。因而如此紋飾在器物上的實則折射了明代中晚期時人的視覺偏好：對文字、道教色彩濃烈的圖像、古/雅意味的裝飾與器物有著強烈的喜愛。這些特質在晚明器物的裝飾系統中的紋飾裡多有作例。「五嶽真形圖」的紋飾的流行更彰顯出明中晚期獨特的社會氛圍：壯遊、臥遊與文房養生。明中晚期行旅之風盛行，五嶽意象深入人心，五嶽真形圖常發揮出行護佑的作用，或是成為臥遊的中介，甚至是宗教清修的媒介。In this paper, the Wuyuezhenxingtu in the middle and late Ming dynasty refers to the images depicting the true form of the five mountains, referring to a large number of artifacts in the middle and late Ming dynasty on the display of the five mountains with Taoist color decoration. The so-called “Five Mountains” refer to the five famous mountains that stand in China. They are Mount Tai in the east, Mount Mount Hua in the west, Mount Song in the middle, Mount Heng in the north and Mount Heng in the south. In Taoism, “True form” refers to the shape of the true mode of existence of the essence of things, which is characterized by unpredictable changes. The image that depicts the zhenxing（true form）is the zhenxingtu.Although previous studies have noted that there are many systems and patterns of the image system of the five mountains, the source of the wuyuezhenxingtu, which is not found in the Daozang, is still unknown. According to the judgment of previous scholars, I speculates that it should be related to the popularity of the new Taoism sect and the inscription/Seal script in the Song and Ming dynasties.

The strong Taoist overtones of the image of the wuyuezhenxingtu and its mysterious symbols, which resemble script, are reminiscent of the legendary origin of the wuyuezhenxingtu in the Han dynasty. The fact that such motifs are found on objects reflects the visual preferences of the mid-to late-Ming dynasty: a strong preference for script(zi), images with strong Taoist overtones, and ancient/elegant decorations and objects. These qualities are exemplified in the decorative system of late Ming objects.The popularity of the wuyuezhenxingtu pattern highlights the unique social atmosphere of the mid- to late-Ming period: travel, recreation, and literary recuperation. With the popularity of travel in the mid-to late-Ming period, the imagery of the wuyuezhenxingtu was deeply rooted in people's minds, and they often served as travel protectors, as intermediaries for recreational travel, and even as mediums for religious retreats.