道教茅山術Maoshan Daoism (Maoshan shu)

一提起「茅山」，很多香港人會想起殭屍片裡手持桃木劍、貼黃符的道長。然而歷史上的茅山，是東晉以來道教上清派的發源地和宗壇，以存思、誦經和修煉見稱，與電影中的「捉鬼法術」形象相去甚遠。本頁從道教史的角度介紹茅山與上清派的來歷、符籙傳統的歷史意義，以及「茅山術」這個流行形象是怎樣形成的。本頁只作歷史與文化介紹，不提供任何符咒、科儀或法術的做法。Mention “Maoshan” and many people in Hong Kong think of the Daoist priest in jiangshi (“hopping vampire”) films, peach-wood sword in hand, slapping yellow talismans on the undead. Historically, however, Mount Mao was the birthplace and ordination centre of the Shangqing (Highest Clarity) school of Daoism from the Eastern Jin onwards, known for visualisation, scripture recitation and self-cultivation — a far cry from the “ghost-catching magic” of the cinema. This page introduces, from the standpoint of the history of Daoism, the origins of Mount Mao and the Shangqing school, the historical significance of the talisman tradition, and how the popular image of “Maoshan magic” took shape. It offers historical and cultural description only, and provides no method for any talisman, incantation, liturgy or magical practice.

茅山與三茅真君Mount Mao and the Three Mao Lords

茅山位於今江蘇省句容市與金壇一帶，古稱「句曲山」。道教「洞天福地」之說把它列為十大洞天中的第八洞天（句曲山洞），又以山中的地肺山為七十二福地中的第一福地（見唐代司馬承禎《天地宮府圖》、杜光庭《洞天福地嶽瀆名山記》）。Mount Mao lies in the area of present-day Jurong and Jintan in Jiangsu Province, and was anciently called Mount Gouqu. The Daoist scheme of “grotto-heavens and blessed lands” ranks it as the eighth of the ten great grotto-heavens (the Gouqu Grotto), and the mountain’s Difei Peak as the first of the seventy-two blessed lands (see the Tang-dynasty Tiandi gongfu tu by Sima Chengzhen and the Dongtian fudi yuedu mingshan ji by Du Guangting).

「茅山」之名，傳統上歸於「三茅真君」：相傳西漢時有茅盈、茅固、茅衷三兄弟在句曲山修道成仙，後人因而改稱此山為茅山，並奉三人為大茅君、中茅君、小茅君。這個故事見於上清派文獻及陶弘景的整理，但屬於宗教傳說，並無漢代同時代史料可以印證。三茅真君至今仍是茅山宮觀主要供奉的神祇。The name “Mount Mao” is traditionally attributed to the “Three Perfected Lords Mao”: legend says that in the Western Han three brothers, Mao Ying, Mao Gu and Mao Zhong, cultivated the Way on Mount Gouqu and became immortals, so that later people renamed the mountain after them and revered them as the Elder, Middle and Younger Lords Mao. The story appears in Shangqing texts and in Tao Hongjing’s compilations, but it is a religious legend with no contemporary Han sources to corroborate it. The Three Mao Lords remain the principal deities worshipped in the temples of Mount Mao today.

上清派的興起：魏華存、楊羲與許氏The Rise of Shangqing: Wei Huacun, Yang Xi and the Xu Family

上清派（又稱上清經派）是東晉南朝時形成的道教派別，因以《上清經》為核心經典而得名。按上清派自身的記述，其經典來自一連串「降授」：The Shangqing school (also called the Shangqing scriptural school) is a Daoist tradition that took shape in the Eastern Jin and Southern Dynasties, named after its core scriptures, the Shangqing jing (Scriptures of Highest Clarity). According to the school’s own account, its scriptures came from a series of “revelations”:

• 魏華存（252–334）：晉代女道士，後被尊為「南嶽魏夫人」，上清派奉為第一代宗師。傳說她生前已修道，去世後以仙真身分降臨，傳授經典。Wei Huacun (252–334): A female Daoist of the Jin, later honoured as “Lady Wei of the Southern Peak” and revered by the Shangqing school as its first patriarch. Legend says she practised the Way during her life and, after her death, descended as a Perfected being to transmit the scriptures.
• 楊羲（330–386）：東晉興寧年間（約 364–370）在句容一帶，自述得魏夫人等眾仙真降臨，口授經文和詩誥，並親手寫下。Yang Xi (330–386): During the Xingning era of the Eastern Jin (c. 364–370), in the Jurong area, he reported visits from Lady Wei and other Perfected beings who dictated scriptures, poems and instructions, which he wrote down in his own hand.
• 許謐、許翽父子：句容的士族，是楊羲的贊助者和記錄者，參與抄寫與修習這批經誥。Xu Mi and his son Xu Hui: Members of a gentry family of Jurong who were Yang Xi’s patrons and recorders, and who took part in copying and practising these revealed texts.

現代學者（如 Michel Strickmann、Isabelle Robinet）指出，上清經典的出現與江南舊士族在北方南渡士族壓力下尋求宗教與文化認同有關；它吸收了早期天師道、江南方士傳統和佛教的元素，重視存思（觀想體內與天上的神祇）、誦經、服氣等內修方法，與後世想像中以畫符捉鬼為主的「茅山法術」很不相同。Modern scholars (such as Michel Strickmann and Isabelle Robinet) point out that the emergence of the Shangqing scriptures was linked to the search for religious and cultural identity by the old southern gentry under pressure from northern émigré clans who had moved south. It absorbed elements of the early Celestial Masters tradition, southern fangshi (masters of techniques) traditions and Buddhism, and emphasised inner practices such as visualisation (cunsi: meditative visualisation of deities within the body and in the heavens), scripture recitation and breath ingestion — very different from the talisman-drawing, ghost-catching “Maoshan magic” of later imagination.

陶弘景與《真誥》Tao Hongjing and the Zhen’gao

陶弘景（456–536），南朝齊梁時人，學問廣博，兼通醫藥、天文、曆算與文學。他於南齊永明十年（492）辭官隱居茅山，搜集楊羲、許氏的手跡，加以考訂和編纂。梁武帝蕭衍常就國事向他諮詢，時人稱他為「山中宰相」。Tao Hongjing (456–536), who lived under the Southern Qi and Liang dynasties, was a man of wide learning, versed in medicine and pharmacology, astronomy, calendrical calculation and literature. In the tenth year of the Yongming era of the Southern Qi (492) he resigned office and retired to Mount Mao, where he collected the autograph manuscripts of Yang Xi and the Xu family and collated and edited them. Emperor Wu of Liang (Xiao Yan) often consulted him on affairs of state, and contemporaries called him the “Prime Minister in the Mountains”.

• 《真誥》：輯錄楊、許二人所記的仙真降授言論、詩篇和書信，並附陶弘景的考證注釋，是研究上清派起源最重要的原始文獻之一。陶弘景對手跡的筆跡、紙張和抄寫者作了細緻辨別，在文獻學上也很有價值。Zhen’gao (Declarations of the Perfected): A compilation of the revealed sayings, poems and letters of the Perfected as recorded by Yang Xi and the Xus, with Tao Hongjing’s critical annotations; it is one of the most important primary sources for the origins of the Shangqing school. Tao’s careful identification of the handwriting, paper and copyists of the manuscripts also makes it valuable for textual scholarship.
• 《登真隱訣》：陶弘景整理的上清修行要旨，今只存殘卷，收入明代《正統道藏》。Dengzhen yinjue (Secret Instructions for Ascent to Perfection): Tao Hongjing’s digest of the essentials of Shangqing practice; only fragments survive, preserved in the Ming-dynasty Zhengtong Daozang (Daoist Canon of the Zhengtong era).
• 《真靈位業圖》：把道教神仙排成等級譜系，是早期道教神譜的重要文獻（作者歸屬學界有少許討論）。Zhenling weiye tu (Chart of the Ranks and Functions of the Perfected Numinous Beings): Arranges Daoist deities and immortals in a graded hierarchy; an important document of early Daoist pantheons (its authorship is subject to some scholarly discussion).
• 《本草經集注》：陶弘景在醫藥上的代表作，整理《神農本草經》並加注，是中國本草學史上的重要著作。Bencao jing jizhu (Collected Commentaries on the Classic of Materia Medica): Tao Hongjing’s representative medical work, an annotated edition of the Shennong bencao jing and a landmark in the history of Chinese pharmacology.

陶弘景之後，茅山成為上清派的中心，上清派因而亦被稱為「茅山宗」。After Tao Hongjing, Mount Mao became the centre of the Shangqing school, which therefore also came to be called the “Maoshan lineage” (Maoshan zong).

唐宋以後的茅山宗The Maoshan Lineage from the Tang and Song Onwards

• 唐代：王遠知、潘師正、司馬承禎（647–735）、李含光等上清宗師深受朝廷尊崇。司馬承禎著有《坐忘論》等，對唐代士人影響很大，李白等詩人亦與上清道士交往。Tang: Shangqing patriarchs such as Wang Yuanzhi, Pan Shizheng, Sima Chengzhen (647–735) and Li Hanguang were greatly honoured by the court. Sima Chengzhen, author of the Zuowang lun (Treatise on Sitting in Oblivion) among other works, strongly influenced Tang literati, and poets such as Li Bai associated with Shangqing Daoists.
• 宋代「三山符籙」：宋代朝廷認可龍虎山（正一天師道）、閣皂山（靈寶派）和茅山（上清派）三處為可以傳授符籙的宗壇，合稱「三山符籙」。The Song “registers of the three mountains”: The Song court recognised three ordination centres authorised to confer talismans and registers — Mount Longhu (the Zhengyi Celestial Masters), Mount Gezao (the Lingbao school) and Mount Mao (the Shangqing school) — collectively known as the “talismans and registers of the three mountains” (sanshan fulu).
• 元代以後：元成宗大德八年（1304），朝廷授第三十八代天師張與材為「正一教主，主領三山符籙」，茅山在制度上被納入正一道的統轄之下。明清時期，茅山宮觀一般被歸入正一派系統，上清派作為獨立宗派的面貌逐漸淡化。From the Yuan onwards: In the eighth year of the Dade era (1304), Emperor Chengzong of Yuan named the thirty-eighth Celestial Master, Zhang Yucai, “Master of the Zhengyi Teaching, in charge of the talismans and registers of the three mountains”, institutionally placing Mount Mao under the authority of Zhengyi Daoism. In the Ming and Qing, the temples of Mount Mao were generally counted within the Zhengyi system, and the Shangqing school’s identity as an independent lineage gradually faded.

符籙傳統The Talisman Tradition

「符」原指古代朝廷用作憑證的符節（兩半相合以驗真偽）；「籙」指記錄神名、仙官名冊的文書。道教把符籙理解為天界的「文書」或「契約」：受籙是入道和取得道士身分的儀式，符則用於祈福、治病、驅邪等科儀。Fu (talisman) originally referred to the tallies used as credentials by the ancient court (two halves matched to verify authenticity); lu (register) referred to documents listing the names of deities and rosters of celestial officials. Daoism understands talismans and registers as heavenly “documents” or “contracts”: receiving a register is the rite of entering the Way and obtaining the status of a Daoist priest, while talismans are used in liturgies for blessings, healing and exorcism.

• 早期淵源：東漢末的太平道和五斗米道已用「符水」為人治病，見於《後漢書》與《三國志》的記載；《太平經》中也有以特殊字形組成的「復文」。Early roots: At the end of the Eastern Han, the Way of Great Peace and the Way of the Five Pecks of Rice already treated the sick with “talisman water”, as recorded in the Book of the Later Han and the Records of the Three Kingdoms; the Taiping jing (Scripture of Great Peace) also contains “compound writings” (fuwen) made of composite character forms.
• 學術研究：Anna Seidel 等學者指出，道教符籙與漢代讖緯、帝王「受命」的符瑞觀念有密切關係，可以理解為把國家權力的象徵轉化為宗教權威的憑證。Scholarship: Anna Seidel and other scholars have shown that Daoist talismans and registers were closely related to Han apocryphal prophecy (chenwei) and to the idea of auspicious tokens confirming a ruler’s “receipt of the Mandate”; they can be understood as a transformation of the symbols of state power into credentials of religious authority.
• 文化面向：符的書寫結合書法、漢字構形與宇宙觀，是研究中國宗教視覺文化與文字崇拜的重要材料。Cultural aspects: The writing of talismans combines calligraphy, the construction of Chinese characters and cosmology, making it important material for the study of Chinese religious visual culture and the veneration of writing.

本站把符籙作為宗教史與文化現象介紹，不提供任何符的樣式、畫法或使用方法，也不認為符籙具有超自然效力。This site presents talismans and registers as phenomena of religious and cultural history. It provides no talisman designs, methods of drawing or instructions for use, and does not consider talismans to possess supernatural efficacy.

「茅山術」的流行形象The Popular Image of “Maoshan Magic”

民間的「茅山法」Folk “Maoshan rites”

明清以後，在華南民間（尤其閩粵一帶），「茅山」漸漸成為各種法師、法壇和驅邪法術的通稱或招牌。這些民間法教多以閭山、茅山等名號自稱，但與歷史上茅山上清宗的經典和傳承並無清楚的制度聯繫；學界一般認為這是借用名山聲望的現象（各地情況不一，仍有研究討論）。在通俗小說和說唱文學中，「茅山道士」也常被描寫成會法術、能驅鬼也能害人的人物。From the Ming and Qing onwards, in popular religion in South China (especially Fujian and Guangdong), “Maoshan” gradually became a generic label or trade name for all kinds of ritual masters, altars and exorcistic arts. These popular ritual traditions often styled themselves with names such as Lüshan or Maoshan, but have no clear institutional connection with the scriptures and lineage of the historical Maoshan Shangqing school; scholars generally see this as borrowing the prestige of a famous mountain (the situation varies by region and remains under study). In popular fiction and performative storytelling, the “Maoshan Daoist” is also often depicted as someone with magical powers who can drive out ghosts — or harm people.

香港殭屍片Hong Kong jiangshi films

1985 年的香港電影《殭屍先生》（英文名 Mr. Vampire，劉觀偉導演，洪金寶監製，林正英飾演道長「九叔」）大受歡迎，開啟了八十年代的殭屍片熱潮。片中道長使用黃符、墨斗、桃木劍、糯米等道具，結合「湘西趕屍」傳說，塑造出今日最為人熟悉的「茅山道士」形象。其後電視劇如無綫的《我和殭屍有個約會》（1998）延續了這個題材。The 1985 Hong Kong film Mr. Vampire (殭屍先生; directed by Ricky Lau, produced by Sammo Hung, with Lam Ching-ying as the Daoist master “Uncle Nine”) was a huge success and launched the 1980s jiangshi film craze. The priest’s props in the film — yellow talismans, a carpenter’s ink line, a peach-wood sword, glutinous rice — combined with the legend of “corpse-driving in western Hunan” to create the most familiar image of the “Maoshan priest” today. Later television dramas such as TVB’s My Date with a Vampire (1998) continued the theme.

這些作品是娛樂創作，它們綜合了民間傳說、戲曲和武打元素，與道教正式科儀和上清派的歷史有很大距離。These works are entertainment, blending folk legend, opera and martial-arts elements; they are far removed from formal Daoist liturgy and from the history of the Shangqing school.

東南亞華人社會Chinese communities in Southeast Asia

在馬來西亞、新加坡、泰國等地的華人社會，「茅山」一詞同樣常被民間法師和流行文化使用，並與當地的巫術觀念（例如源自泰國及馬來世界的「降頭」說法）互相混合，形成獨特的地方信仰面貌。這方面的民族誌研究仍在累積中。In the Chinese communities of Malaysia, Singapore, Thailand and elsewhere, the word “Maoshan” is likewise widely used by folk ritual masters and in popular culture, and has blended with local notions of sorcery (for example the idea of gong tau / jiangtou 降頭, which comes from Thailand and the Malay world), producing distinctive local forms of belief. Ethnographic research in this area is still accumulating.

當代茅山Mount Mao Today

茅山主要宮觀有九霄萬福宮（頂宮）和元符萬寧宮（印宮）等。這些宮觀在抗日戰爭期間遭到嚴重焚毀，文化大革命期間再受破壞，自 1980 年代起陸續重修，今由茅山道院管理，對外開放，兼具宗教活動與旅遊功能（宮觀管理與列級的細節待考）。茅山的道教音樂和廟會等活動，也受到文化遺產保護方面的關注。The main temples of Mount Mao include the Jiuxiao Wanfu Gong (the “Summit Temple”) and the Yuanfu Wanning Gong (the “Seal Temple”). These temples were severely burned during the War of Resistance against Japan and damaged again during the Cultural Revolution; they have been rebuilt in stages since the 1980s and are now managed by the Maoshan Daoist Monastery (Maoshan Daoyuan), open to the public and serving both religious and tourist functions (details of management and official ranking to be verified). Daoist music and temple festivals at Mount Mao have also attracted attention from cultural-heritage protection bodies.

民間秘聞Folk Tales and Anecdotes

閱讀提示：本節收集與茅山相關的民間傳說和軼聞，屬故事與民俗，不是歷史事實。我們盡量註明這些說法見於哪些筆記、文學作品或研究，讓讀者知道故事從何而來；本節不包含、也不會提供任何符咒、法術或儀式做法。Reader’s note: This section collects folk legends and anecdotes connected with Maoshan. They are stories and folklore, not historical fact. We try to indicate in which miscellanies (biji), literary works or studies these stories appear, so that readers know where they come from; this section does not contain, and will not provide, any talisman, spell or ritual method.

湘西「趕屍」傳說The “corpse-driving” legends of western Hunan

民間流傳，舊時湘西（沅水流域、古辰州一帶）有「趕屍匠」，替客死異鄉的人把遺體送回故里：據說他們晝伏夜行，搖鈴開路，遺體一個接一個跟在後面「走」回家鄉，沿途村民聽見鈴聲便關門迴避。作家沈從文在散文集《湘西》中寫到沅陵一帶關於趕屍和「辰州符」的傳聞，使這個故事廣為人知。Folklore holds that western Hunan (the Yuan River basin, around old Chenzhou) once had “corpse drivers” (ganshi jiang) who returned the bodies of people who had died far from home to their native places: they supposedly rested by day and travelled by night, ringing a bell to clear the way, with the corpses “walking” home behind them in single file, while villagers who heard the bell shut their doors. The writer Shen Congwen mentioned rumours about corpse-driving and “Chenzhou talismans” around Yuanling in his essay collection Xiangxi (West Hunan), making the story widely known.

值得留意的是，這類傳說在地方上多與「辰州」而非「茅山」相連；是香港殭屍片把趕屍、黃符和「茅山道士」合而為一。對於趕屍傳說的成因，常見的解釋是：舊時講究「落葉歸根」，運送遺體回鄉路途遙遠，加上夜間行走、遺體以竹竿抬運時上下起伏，旁人遠望便以為是屍體在跳動。這只是一種推測，並無確證。Note that locally these legends are mostly associated with Chenzhou rather than Maoshan; it was Hong Kong jiangshi films that merged corpse-driving, yellow talismans and the “Maoshan priest” into one. A common explanation of the legend’s origin is that, given the old ideal of “fallen leaves returning to their roots” (being buried at home), bodies had to be carried long distances; travelling at night, with bodies carried on bamboo poles bobbing up and down, onlookers at a distance might think the corpses were hopping. This is only a conjecture, without firm evidence.

清代筆記中的「殭屍」“Jiangshi” in Qing miscellanies

清代文人筆記中有不少「殭屍」「屍變」故事，例如袁枚的《子不語》和紀昀的《閱微草堂筆記》。這些故事多屬作者聽聞後記錄的奇談，有些帶有勸誡意味，紀昀也常在故事後加上自己的懷疑和議論（具體篇目眾多，本站不一一列舉，卷次待考）。它們是後世殭屍題材的重要文學源頭之一，但不能當作真實事件的紀錄。Qing literati miscellanies contain many stories of “stiff corpses” (jiangshi) and “corpse transformations”, for example in Yuan Mei’s Zi bu yu (What Confucius Did Not Speak Of) and Ji Yun’s Yuewei caotang biji (Notes from the Thatched Abode of Close Observation). Most are marvels the authors recorded from hearsay, some with a moralising purpose, and Ji Yun often appended his own doubts and comments (the individual entries are numerous and are not listed here; chapter references to be verified). They are among the important literary sources of the later jiangshi genre, but cannot be taken as records of real events.

三茅真君的民間故事Folk tales of the Three Mao Lords

東晉葛洪《神仙傳》收有茅君的傳記，其中一則故事流傳甚廣：茅盈離家修道多年後回鄉，父親怪他不孝，舉杖要打，手杖卻在半空斷成數十截，像箭一樣飛射到牆上；父親這才相信兒子已經得道。後世又有三茅真君乘白鶴往來茅山的說法，「白鶴」因此成為茅山常見的意象。這些都是神仙傳記中的故事，屬宗教文學。Ge Hong’s Eastern Jin Shenxian zhuan (Biographies of Divine Immortals) includes a biography of Lord Mao containing a widely told story: when Mao Ying returned home after many years away studying the Way, his father, angry at his lack of filial piety, raised a staff to beat him, but the staff broke in mid-air into dozens of pieces that flew like arrows into the wall; only then did the father believe that his son had attained the Way. Later tradition also has the Three Mao Lords travelling to and from Mount Mao on white cranes, which is why the white crane is a common image at Maoshan. These are stories from hagiography and belong to religious literature.

香港的「茅山」說法“Maoshan” in Hong Kong speech

在香港粵語中，「茅」常用來形容人耍賴、用不正當手段，例如「出茅招」「好茅」。坊間有一種說法，認為這個用法與「茅山術」等於旁門左道的形象有關，但這只是民間詞源推測，語言學上並無定論（待考）。此外，八十年代殭屍片熱潮後，林正英飾演的「九叔」幾乎成為「茅山師傅」的代名詞，至今仍常在流行文化中被引用和戲仿。In Hong Kong Cantonese, mau (茅) is often used to describe someone who cheats or uses underhand methods, as in ceot mau ziu (“to play a dirty trick”) or hou mau (“very sneaky”). One popular explanation links this usage to the image of “Maoshan magic” as a crooked art, but this is only a folk etymology with no linguistic consensus (to be verified). After the jiangshi film craze of the 1980s, Lam Ching-ying’s “Uncle Nine” became almost synonymous with the “Maoshan master”, and is still frequently quoted and parodied in popular culture.

東南亞的奇聞Marvel tales from Southeast Asia

在馬來西亞、新加坡等地的華文通俗刊物和口耳相傳中，常見「茅山師傅」施法、與「降頭」鬥法之類的奇聞。這些故事反映了華人移民社會中多種宗教傳統交匯的情況；關於當地華人民間宗教和乩童文化的實地研究，可參考 Jean DeBernardi 對馬來西亞檳城的民族誌。這些奇聞本身多無從查證。In Chinese-language popular magazines and word of mouth in Malaysia, Singapore and elsewhere, tales of “Maoshan masters” casting spells or battling gong tau sorcery are common. These stories reflect the meeting of multiple religious traditions in Chinese migrant societies; for fieldwork on local Chinese popular religion and spirit-medium culture, see Jean DeBernardi’s ethnography of Penang, Malaysia. The tales themselves are mostly unverifiable.

常見誤解Common Misconceptions

• 「茅山派自古以來就是專門捉鬼的法術門派」：歷史上的茅山上清派以經典、存思和內修見稱，捉鬼法師的形象主要來自明清民間法教和現代電影。“The Maoshan school has always been a sect of ghost-catching magic”: The historical Maoshan Shangqing school was known for its scriptures, visualisation and inner cultivation; the image of the ghost-catching ritual master comes mainly from Ming–Qing folk ritual traditions and modern cinema.
• 「茅山術就是降頭」：「降頭」是東南亞（尤其泰國與馬來世界）的民間巫術觀念，與茅山道教源流不同，只是在流行文化中常被混為一談。“Maoshan magic is the same as gong tau”: Gong tau (jiangtou) is a folk notion of sorcery from Southeast Asia (especially Thailand and the Malay world), with origins different from Maoshan Daoism; the two are merely often conflated in popular culture.
• 「殭屍片反映了真實的道教科儀」：電影中的道具與招式多經藝術加工，不能當作道教儀式的紀錄。“Jiangshi films show real Daoist liturgy”: The props and moves in these films are largely artistic inventions and cannot be taken as a record of Daoist ritual.
• 「三茅真君的故事是史實」：這是宗教傳說，並無漢代史料佐證。“The story of the Three Mao Lords is historical fact”: It is a religious legend, unsupported by Han historical sources.

以「茅山法術」「驅邪」「改運」為名的收費服務，歷來不乏詐騙個案。遇到身心困擾，請尋求醫生、心理輔導或其他專業人士的協助。Paid services offered in the name of “Maoshan magic”, “exorcism” or “changing one’s luck” have a long record of fraud. If you are troubled in body or mind, please seek help from a doctor, counsellor or other qualified professional.

參考資料References

1. 陶弘景《真誥》。（收入《正統道藏》；點校本：趙益點校《真誥》，北京：中華書局，2011。）Tao Hongjing, Zhen’gao (Declarations of the Perfected). (In the Zhengtong Daozang; punctuated edition: Zhao Yi (ed.), Zhen’gao, Beijing: Zhonghua Shuju, 2011.)
2. 陶弘景《登真隱訣》（殘本）。（收入《正統道藏》。）Tao Hongjing, Dengzhen yinjue (Secret Instructions for Ascent to Perfection; fragmentary). (In the Zhengtong Daozang.)
3. 吉川忠夫、麥谷邦夫編《真誥研究（譯注篇）》。京都：京都大學人文科學研究所，2000。Yoshikawa Tadao and Mugitani Kunio (eds.), Shinkō kenkyū: yakuchū hen (Studies on the Zhen’gao: Annotated Translation). Kyoto: Institute for Research in Humanities, Kyoto University, 2000.
4. Michel Strickmann, “The Mao Shan Revelations: Taoism and the Aristocracy,” T’oung Pao 63 (1977): 1–64.
5. Isabelle Robinet, La révélation du Shangqing dans l’histoire du taoïsme. 2 vols. Paris: École française d’Extrême-Orient, 1984.
6. Isabelle Robinet, Taoism: Growth of a Religion. Trans. Phyllis Brooks. Stanford: Stanford University Press, 1997.
7. Kristofer Schipper and Franciscus Verellen (eds.), The Taoist Canon: A Historical Companion to the Daozang. Chicago: University of Chicago Press, 2004.
8. Anna Seidel, “Imperial Treasures and Taoist Sacraments: Taoist Roots in the Apocrypha,” in Michel Strickmann (ed.), Tantric and Taoist Studies in Honour of R. A. Stein, vol. 2. Brussels: Institut Belge des Hautes Études Chinoises, 1983, 291–371.
9. 卿希泰主編《中國道教史》（四卷）。成都：四川人民出版社，1988–1995。Qing Xitai (ed.), Zhongguo daojiao shi (History of Chinese Daoism), 4 vols. Chengdu: Sichuan Renmin Chubanshe, 1988–1995.
10. 任繼愈主編《中國道教史》。上海：上海人民出版社，1990。Ren Jiyu (ed.), Zhongguo daojiao shi (History of Chinese Daoism). Shanghai: Shanghai Renmin Chubanshe, 1990.
11. 葛洪《神仙傳》。（通行本：胡守為校釋《神仙傳校釋》，北京：中華書局，2010。）Ge Hong, Shenxian zhuan (Biographies of Divine Immortals). (Standard edition: Hu Shouwei, Shenxian zhuan jiaoshi, Beijing: Zhonghua Shuju, 2010.)
12. 沈從文《湘西》。商務印書館，約 1939 年初版（出版地與年份待考；散文集，有多種重印本）。Shen Congwen, Xiangxi (West Hunan). Commercial Press, first published c. 1939 (place and year of first publication to be verified; an essay collection with many reprints).
13. 袁枚《子不語》；紀昀《閱微草堂筆記》。（均有多種排印本。）Yuan Mei, Zi bu yu; Ji Yun, Yuewei caotang biji. (Both available in many typeset editions.)
14. Jean DeBernardi, The Way That Lives in the Heart: Chinese Popular Religion and Spirit Mediums in Penang, Malaysia. Stanford: Stanford University Press, 2006.
15. 電影《殭屍先生》（Mr. Vampire），劉觀偉導演，香港，1985。Film: Mr. Vampire (殭屍先生), dir. Ricky Lau, Hong Kong, 1985.