| Summary: | 碩士 === 國立臺灣師範大學 === 藝術史研究所 === 106 === The Southern Song edition of Tianzhu lingqian was known by people due to the relatively early date, the form of both text and picture, and the book form of it. The editions, source of content, style and meaning of images are issues of this paper, aim to help positioning the book in the history of art. Past researches focused mainly on the Southern Song edition, and less discussion were made to other editions or association between the editions. Therefore, the first chapter links different editions of Tianzhu lingqian, includes the well-known Southern Song edition, Hongwu edition (1385) partially released in recent years, and Genzan Daishi omikuji mostly known and recognized by Japanese scholars.The content of Tainzhu lingqian includes both image and text which is seldom to be seen in present days. By searching the researches of divination history and literatures of Song Dynasty, it can be confirmed that a fortune-telling technique called Guige guaying practiced since the middle of Northern Song should have affected the content and form of Tianzhu lingqian.
Studies of the images of Tianzhu lingqian were generally based on two ground, one was of the style and theme, the other was of the meaning. The third chapter starts with the style and theme of images in Tianzhu lingqian, explores its connection with Southern Song painting, which helps to narrow down the time and space of its production. Further, the publisher of Hongwu edition gives a clue to look for the publisher of Southern Song edition, through its publications and active years. Finally, the most discussed issue of Tianzhu lingqian is the interpretation of the meanings of images. In addition to the interpretations, this paper classifies the common changes, and sorts the general types of combination and composition of the images. The use of symbolic images in Tianzhu lingqian not only adopted by books in later dynasties, but also presents the visual culture of the contemporaries.
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