記憶、身體、空間：論丁雲鵬《三教圖》之文化意涵

Memory, Body, Space: A Discussion of the Cultural Meaning Of Ting Yun-peng’s Three Religion Painting

三教合一思潮，從魏晉南北朝始生，時三教充滿不能融合之問題。隋、唐時代佛、道二教各有發展，此時佛教中國化程度達至顛峰，而道教也因執政者提倡故壯大。唐為大一統時代，故統一意識形態興盛，宗教上的紛爭，自然受統一意識形態影響，而大興三教合一之說。發展至宋元時期，可分三教調和與三教合一論。時至明代，三教調和與三教合一思潮經過魏晉、隋、唐、宋、元等時期發展，已臻成熟，為三教思想相關論述趨於定型之時期。柳存仁先生於《明儒與道教》一書中，強調三教調和或合一思想對明末清初儒學之重大影響，其言道：「在明代思想史中，能夠起重大作用、放一異采的是受道教及禪家影響的、大批的提倡『王學』的人，而不是在他們以前反對儒教受釋、道影響的人。」由柳存仁先生所言可知，三教調和或合一思潮與明代儒學之發展具有密切關係，故欲研究明代學術思想，實應與三教思潮並觀。前人於研究明代三教思想時，大都從文字史料中梳理並加以形構，而筆者於研究明代視覺文化之際，觀看到繪畫藝術中，亦有三教思想展現，故本文試圖從圖意學角度出發，分析明代丁雲鵬之《三教圖》，冀能從中描繪出明代三教調和或合一思想，是如何在繪畫中被派生及展演，為形構明代三教論述盡一份心力，此為本文之為文目的及價值所在。

This article attempts to discuss the Cultural Codes and Integration Teaching Presentation of Ting Yun-p’eng’s Three Religion Painting, and to observe how image and the thoughts of the integration of the Three Teachings interact and influence each other. Its research scope focuses on the Ting Yun-p'eng’s thoughts and paintings. This article takes the Erwin Panofsky's study in iconography and religious identity as an approach. It dis-cusses issues such as the transfer concept of the Ting Yun-p'eng’s thoughts and paintings of the integration of the Three Teachings, the conflict of power relations within Confucianism, Taoism and Buddhism communities, and how the integration of the Three Teachings affects Ting Yun-p'eng’s thoughts and paintings. Through a study in iconography perspective, and by observing Ting Yun-p'eng’s thoughts and paintings of the integration of the Three Teachings will be presented, this article expects to advance the research of the integration of the Three Teachings. It displays the conflict between Confucianism, Taoism and Buddhism, and helps readers to understand how the cultural codes and integration teaching presentation showed up on the Ting Yun-p'eng’s Thoughts and paintings. This is the significance and the value of this article.