洞天寻隐·学林纪丨写真山之形：从“山水图”、“山水画”谈道教山水观之视觉型塑（下）(30)

[81] 戴思博（Catherine Despeux）著、李国强译:《〈修真图〉——道教与人体（Taoïsme et corps humain: Le xiuzhen tu）》，页 124。
[82] 石守谦:《从风格到画意：反思中国美术史》，页 408（注 6）。
[83] 石守谦:《从风格到画意：反思中国美术史》， 页 184。这点似乎呼应了夏文彦（ca. 1312-1370）《图绘宝鉴》所载善于写貌的北宋道士李德柔，据说其设色就是用土石自制之朱铅，为俗人所不能；见夏文彦（ca. 1312-70）:《图绘宝鉴》，《中国书画全书》，册 2，页 861。
[84] 有关中国绘画的颜料，见于非闇:《中国画颜色的研究》（北京：朝花美术出版社，1955年）；英文翻译见 Fei’an Yu, Chinese Painting Colors: Studies on their Preparation and Application in Traditional and Modern Times, translated by Jerome Silbergeld and Amy McNair (Seattle: University of Washington Press, 1988).
[85] 参照 Joseph Needham 整理的化学元素表第 122 项；见 Joseph Needham et al., Science and Civilisation in China, vol. 5, Chemistry and Chemical Technology. Part 2, Spagyrical Discovery and Invention: Magisteries of Gold and Immortality, 177.
[86] Joseph Needham et al., Science and Civilisation in China, vol. 3, Mathematics and the Sciences of the Heavens and the Earth, 639.
[87] （明）《图经衍义本草》，《道藏》，册 17，页 274。
[88] Joseph Needham et al., Science and Civilisation in China, vol. 5, Chemistry and Chemical Technology, part 2, Spagyrical Discovery and Invention: Magisteries of Gold and Immortality, fig. 1335 (unnumbered page between 304 and 305); Shih-shan Susan Huang, Picturing the True Form, 178; Shih- shan Susan Huang, Picturing the True Form, 178.