明代《道藏》是唯一中國帝制時期修纂而完整保存的道教藏經。明《道藏》多達512函，每一函第一卷卷首都重覆印有一幅扉畫。此扉畫現存兩個版本，同樣刻有170多位道教仙聖，展現了明代十五世紀官方認可的道教神譜及神祇形象，是研究明代宗教版畫以至宮廷道教信仰的重要視覺材料。本文以該畫為研究對象，指出《道藏》扉畫是在明初官方主導結集和刊刻宗教經典的風潮下產生的作品。它的設計，揉合佛道兩教的視覺傳統，以圖像的方式確立《道藏》作為道教權威經典。它的構圖，展現了明初官刻宗教版畫對元代佛藏扉畫的繼承；而畫中仙聖的組合、佈局和造型，不僅反映繼承自元永樂宮三清殿等傳統道觀壁畫的佈局方式和人物形象，其中部份仙聖的選取，更顯示出它與最終完成《道藏》編纂工作的道士邵以正（約1368－1463）和明初皇室的道教信仰有密切關係。

The Daozang of the Ming dynasty is the only extant complete Daoist canon compiled in the imperial period of China. It comprises a maximum of 512 boxes with a frontispiece preceding the first volume of each box. The frontispiece, having two editions, depicts over 170 deities representing the imperially sanctioned Daoist pantheon and images of deities of the fifteenth century. It is an important visual material for the study of religious printing and Daoist belief of the Ming court. This article argues that the frontispiece to the Daozang was the outcome of the imperial endeavor to compile and print great collections of religious classics in early Ming times. Its design incorporates visual elements from the Buddhist and Daoist traditions to establish Daozang as the authoritative corpus of Daoist scriptures. Its composition shows how the inner court editions of religious prints had inherited the characteristics of frontispieces to Buddhist canons of the Yuan dynasty. The grouping, arrangement, and pictorial forms of deities and immortals on the frontispiece, on the one hand, point to its dependence on the traditional murals in such temples as the Yongle Palace; on the other hand, the choice of depicting certain deities on the frontispiece demonstrates its close connection with Shao Yizheng, the chief editor who oversaw the completion of the Ming Daozang, and the devotion of the Ming imperial court to thunder rituals.

道藏; 扉畫; 版畫; 邵以正; 神譜

Daozang; frontispiece; woodblock print; Shao Yizheng; pantheon