唐宋道教齋儀中的「禮師存念」及其源流考論－－兼論道教齋壇圖像的運用

The Origins and Development of “Revering One’s Master in Meditation” in the Daoist Fasts of the Tang and Song Dynasties, with an Accompanying Investigation of Portraits at Daoist Altars

早期道教齋壇沒有畫像或造像作為輔助，卻絲毫不影響道士朝禮尊神，他們很早便已援用存思技法協助行儀。本文旨在考察道教齋儀的固定儀節──「禮師存念」的歷史發展，說明如此存思技法如何運用於朝禮、願念乃至發揮護衛壇場的功效，同時省思道教儀式使用實體圖像的必要性。本文首先指出唐末五代杜光庭 (850-933) 乃至南宋蔣叔輿 (1156-1223) 所行「禮師存念」的四項內容，作為討論起點；以此唐宋常行「禮師存念」做法為對象，本文接著追索四項存念內容的發展源流與歷史意義，並且試著考察組織這些內容的原則與依據，說明定型化的唐宋「禮師存念」如何受到《老君存思圖注訣》「上座講經」的影響。最後則利用現存幾幅存思圖，反省實體圖像運用於齋儀之中的限制與必要性。

In the early history of Daoism, it was uncommon for portraits and statues to be placed at altars, but this did not negatively impact the Taoist priests’ worship, for they had long employed meditation as a means of facilitating ritual practice. This study explores the history of “revering one’s master in meditation” as a prescribed part of Lingbao ritual in order to explicate not only how this method of meditation functioned in worship, prayers and safeguarding altars, but also to examine the necessity of the portraits used in the rituals. In the article, I first analyze how Daoist practitioners from the late Tang to the Southern Song practiced the four items that constitute the method of “revering one’s master in meditation.” Second, on the basis of this analysis, I investigate the origins and development of this practice as well as its role in Daoist history. Third, in an effort to determine how such a practice was influenced by the “Masters’ Lectures on the High Dais” in the Laojun Cunsi Tuzhujue (Tai Shang Lao Jun’s Meditation Method: Illustrations, Notes and Tips), I examine the basic principles informing this method of meditation and review relevant secondary literature. Finally, I discuss several extant illustrations in order to contemplate both the limitations and the necessity of using portraits in the rituals.