中煉金術是註記人類探索自我意識與物質世界的廣袤史觀。它是宗教神話思想，以及個人洞察自身認知根源的集合體。煉金術統合物質形式的象徵意識以及精神心靈的昇華幻化，並將之轉變成思想與技藝之間的關鍵聯繫。藝術家藉此以助於學習外在與內在、題材與創作活性的整合，使繪畫與其它視覺藝術如同煉金術一般，成為聯接物質與心理世界的範例。回顧典籍所載，古人所言之藝術與藝術家，亦與煉金術士一般，充滿了神秘難解之奇幻異數，而非今日所使用詞彙之實質意含。
本篇研究要旨在於探索煉金術思想脈絡以及其象徵系統，各篇皆以傳統象徵系統引導創作之源，論述象徵體系之中，煉金術為之詮釋作為創造者的終極創生，指引創作者所需之超越智慧的自然共感，與追尋超越物質與精神世界的開放思想，以及深刻的創作情緒。本篇論文亦以此尋思古代習藝者以及現代心理與美學理論，研究存於內心的信仰與創作程序以何種圖面形式再現虛無的想像。以象徵系統，作為探究抽象概念轉化為繪畫創作因素之工具與潛意識攫取想像的能力。

Alchemy is the history of humanity’s self-awareness and marvel with the physical world. It is collective and individual research for perspicacity and the origins of religion, mythology, and personal self-identity. Alchemy is at once a symbolic consciousness of substantial forms and a symbolic utterance of the spiritual and psychological transformations of the spirit, became a connection between wisdom and art. The artist has been given the possibility of integrating his outward and inward creation, his subject matter and his creative activity. Painting and other visual arts are one intent example of communication between physical and psychological world, and other is alchemy. If we look back at the whole art history existence, the appearance of art and artist, just like alchemist, seems a curious phenomenon indeed, an ethereal secret that cannot easily be explained in terms of contemporary lexicon that we may real understand.
While the thrust of this study is directed at elucidating the history of alchemy and system of symbols, every chapter includes explicable the form of symbols from the origin of traditions. Alchemy has always been representative of what is ultimate creation about creator in the symbolic system. Perhaps what we need is not more sophistication but more sympathy, a thoughtful openness to the synesthesie that beyond physical and psychological world, a profound passion of creation. This study also describes both how ancient practitioners believed alchemy worked and how modern psychological and aesthetical theory can illuminate the processes of imagination. Uses the symbols for the tools to investigate how conceptions were considered effective causations of creative activity in painting and what captured the imagination was the efficacy of the unconscious.

一、古籍（成書年代排列）
春秋，李聃撰，晉，王弼注：《老子》華亭張氏原本，中華書局據明世德堂本校刊。台北：台灣中華書局，1967。
春秋，左丘明撰，三國吳，韋昭注：《國語》中華書局據士禮居黃氏重雕本校刊。台北：中華書局，1968。
戰國，莊周撰，晉，郭象注：《莊子》，台北：藝文印書館，1983。
戰國，屈原：《楚辭》。台北：環球出版社，1966。
秦，呂不韋輯，畢浣輯校：《呂氏春秋》。北京：中華書局，1991。
漢人編輯，袁珂校注：《山海經校注》。上海：上海古籍出版社，1980。
西漢，司馬遷：《史記》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
西漢，劉安撰，楊堅點校：《淮南子》。長沙：岳麓書社，1989。
西漢，劉安撰，漢高誘注：《淮南子》。上海：廣益出版社，1922。
西漢，桓寬撰，林振翰校釋：《鹽鐵論》。台北：台灣商務，1956。
東漢，班固：《漢書》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
東漢，許慎撰，清，段玉裁注：《說文解字注》。台北：洪葉文化，1998。
東漢，魏伯陽：《周易參同契》。香港：鑪峰精神修養院，1958。
東漢，魏伯陽著，清，朱元育釋：《參同契闡幽》。台北，自由出版社，1979。
東漢，班固撰，清，盧文弨輯：《白虎通》原刻本影印，國立台灣大學裝訂本。台北：藝文出版社，1968。
晉，葛洪：《抱朴子》。台北：台灣商務，1965。
北齊，魏收：《魏書》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
唐，房玄齡等撰：《晉書》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
唐，李延壽：《南史》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
唐，李延壽：《北史》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
唐，白居易撰，清，汪立名編：《白香山詩集》據國立故宮博物院藏本影印。台北：台灣商務，1983。
唐，張守節：《史記正義》據國立故宮博物院藏本影印。台北：台灣商務，1983。
唐，呂嚴撰，民國，蕭天石編：《太乙精華宗旨呂祖指玄篇秘註合刊》，道藏精華第十三集之三。台北：自由出版社，2003。
五代，何光遠：《鑑戒錄》，清嘉慶十年虞山張氏照曠閣刊本。
宋，李誡：《營造法式》，北京：中國書店，1989。
宋，李昉：《太平御覽》。台北：台灣商務，1992。
宋，釋文瑩：《玉壺清話》影印本。北京：中華書局，1991。
元，馬端臨：《文獻通考》，景印摛藻堂四庫全書薈要，據摛藻堂本影印。台北：世界出版社，1986。
明，白雲觀長春真人：《正統道藏》。台北：新文豐，1985-1988。
明，李時珍：《本草綱目》，載於王雲五主編：《國學基本叢書》。台北：台灣商務，1968。
明，宋應星著，潘吉星譯註：《天工開物》。上海：上海古籍出版社，2008。
清，張廷玉：《明史》，載於《四部備要》史部，中華書局據武英殿本校刊。台北：台灣中華書局，1965。
清，董誥：《全唐文》。上海：上海古籍出版社，1995。
清，趙翼：《廿二史札記》。北京：中華書局，1963。
臺灣商務印書館編審委員會主編：《四部叢刊廣編》。台北 : 臺灣商務，1981。

二、 現代中文
王溢嘉：《聊齋搜鬼》。台北：野鵝，1991。
北京大陸橋文化傳媒編著：《鍊金術神話》。重慶：重慶出版社，2008。
史有為：《外來詞：異文化的使者》。上海：上海辭書出版社，2004。
牟宗三：《中國哲學的特質》。 台北：台灣學生，1984。
吳康：《康德哲學》。台北：台灣商務，1973。
伊維爾（Cloude Yvel）原著／張漢明譯 :《油畫技法：古方今用》。台中：伯亞，1995。
余蓮（François Jullien）原著／林志明，張婉真譯：《本質或裸體》。台北縣：桂冠，2004。
何寧：《淮南子集釋》。北京：中華書局，1998。
伯克（Peter Burke）原著／楊豫漢譯：《圖像證史》（The Uses of Images as Historical Evidence）。北京：北京大學出版社，2008。
金正曜：《道教與煉丹術論》。北京：宗教文化出版社，2004。
姚一葦：《美的範疇論》。台北：台灣開明，1982。
約翰生（Obed Simon Johnson）原著，黃素封譯：《中國煉丹術考》。上海：上海文藝出版社，1992。
韋特奈爾原著／趙振江譯：《牛頓傳記五種》。北京：商務出版社，2007。
唐登剛編︰《圖解古代化學故事：煉金術》。陝西：陝西師範大學出版社，2008。
陳淑華師：《油畫材料學》。台北：洪葉文化，2006。
張覺人：《中國古代煉丹術》。台北：明文書局，1985。
卿希泰：《中國道教思想史綱》。台北：木鐸，1986。
舒特（Schutt, H.）原著／李文潮、蕭培生漢譯：《尋求哲人石：煉金術文化史》。上海：上海科技教育出版社，2006。
閔明我，《簡易哲學》。台北：台灣商務，1991。
達彌施（Hubert Damisch）原著／董強譯：《雲的理論：為了建立一種新的繪畫史》。台北：揚智文化，2002。
劉文英：《中國古代的夢書》。北京：中華書局，1998。
蒙紹榮／張興強：《歷史上的煉丹術》。上海：上海科技教育出版社，1995。
劉瑛：《「左傳」、「國語」方術研究》。北京：人民文學出版社，2006。
榮格（C. G. Jung）原著／楊儒賓譯：《東洋冥想的心理學：從易經到禪》。北京：社會科學文獻出版社，2000。
榮志毅：《中國煉丹術考略》。上海：上海三聯書店，1998。
諾伊曼（Erich Neumann）原著／李以洪譯：《大母神：原型分析》（The Great Mother: An Analysis of the Archetype）。北京：東方出版社，1998。
諾爾（Richard Noll）原著／曾林等譯：《榮格崇拜：一種有非凡魅力的起源》（The Jung Cult: Origins of a Charismatic Movement）。上海：上海世紀出版社，2002。

三、外文

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Armstrong, Arthur Hilary: An Introduction to Ancient Philosophy, London: Methauen and Co., 1981.
Baker, Christopher: Rembrandt, London: Bison, 1988.
Battistini, Matilde: Symbols and Allegories in Art, Los Angeles: The J. Paul Getty Museum, 2002.
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Warlick, M. E.: Max Ernst and Alchemy: A Magician in Search of Myth, Austin: University of Texas Press, Austin, 2001.
Wedmore, Frederick ed.: Rembrandt, His Life, His Work, and His Time, Charleston: Biblio Life, 2009.
White, Christopher: Rembrandt, New York: Thames and Hudson, 1984.

四、 中文期刊
克拉卜、艾珂：〈雙蛇杖的前世今生〉，《飛(奇幻世界)》，2010：06，52-55。
李宏剛：〈管窺古代煉金術對中西社會發展的影響〉，《科技信息》，2010：15，550-566。
秦筱男：〈冶金工程:千錘百煉始到金〉，《湖北招生考試》，2010：10，34。
高原磊、熊啟中等：〈喹唑啉類衍生物的合成及抗菌活性研究進度〉，《有機化學》，2011：10。
考古編輯部：〈山西襄汾縣陶寺遺址發掘報告〉，《考古》，1980：1。
考古編輯部：〈1980年河南偃師二里頭遺址發掘報告〉，《考古》，1983：3。
編輯部：〈煉金術的過去和未來〉，《大江周刊(生活)》，2010：05，56-57。
蘇文健：〈煉金術士蘭波―通靈者的詞與物〉，《中國研究生》，2010：05，42-46。

五、外文期刊（作者姓氏字母排列）
Chang, Ku-Ming (Kevin):“Toleration of Alchemists as a Political Question: Transmutation, Disputation, and Early Modern Scholarship on Alchemy. ”AMBIX, （November 200）7, Vol. 54 Issue 3, 245-273.
Leah DeVun:“The Jesus Hermaphrodite: Science and Sex Difference in Premodern Europe. ” Journal of the History of Ideas（April 2008）, Vol. 69 Issue 2, 193-218 .
Fraser, Kyle A.:“Zosimos of Panopolis and the Book of Enoch: Alchemy as Forbidden Knowledge. ” Aries, 2004, Vol. 4 Issue 2, 125-147.
Newman, William R.: “The Summa Perfectionis of pseudo-Geber.” Collection des travuox de l`Academie internationale d`histories des science, vol-35, Leiden: E.J.Beill, 1991.
Goodyear-Smith, Felicity:“ Practising alchemy: the transmutation of evidence into best health care.” Family Practice（April 2011）, Vol. 28 Issue 2, 123-127.
Kassell, Lauren:“Secrets revealed：Alchemical books in early-modern England. ” History of Science（Mars 2011）, Vol. 49 Issue 1, 61-87.
Keller, Vera:“Drebbel’s living instruments, Hartmann’s microcosm, and Libavius’ thelesmos：epistemic machines before Dscartes. ”History of Science（March 2010）, Vol. 48 Issue 1, 39-74.
Morus, Iwan Rhys:“On the Power to Create.”Science, 2004, Vol. 306 Issue 5693, 59-59.
Rampling, Jenniefer M.:“Establishing the Canon: George Ripley and his Alchemical Sources. ”AMBIX（November 2008）, Vol. 55 Issue 3, 189-208.
Newman, William R.:“The Significance of "Chymical Atomism".”Early Science & Medicine, 2009, Vol. 14 Issue 1-3, 248-264.
Topping, Margaret:“Artists and alchemists in Proust’s A la recherche du temps perdu. ”French Studies（October 2006）, Vol. 60 Issue 4, 466-478.