本文以《水滸傳》人物為探討對象，「身體記號」為主軸，分梳出刺青、金印兩條理路，除了整理文獻資料外，亦對內在脈絡加以探討。同樣是對身體進行記號的刻畫行為，但在《水滸傳》的書寫上卻有刺青與金印的不同。梁山好漢刺青者計有：九紋龍史進、花和尚魯智深、短命二郎阮小五、病關索楊雄、雙尾蠍解寶、浪子燕青、花項虎龔旺七人；金印者則有呼保義宋江、豹子頭林冲、行者武松、青面獸楊志四人。此兩種不同類型的身體記號，除了刻畫的部位與方式相異外，刺青者的心理動機與金印者的接受反應亦為心理層面上的迥異呈現。其中，刻畫的部位與方式乃受歷史發展與文化變遷所影響；至於刺青與金印者的動機與反應則涉及心理學範疇。是故，筆者從歷史學、文化人類學、心理學系統三方面考察，並對梁山好漢的身體記號之意涵加以歸納，而得以看出《水滸》中社會文化之透顯。

This paper explores the characters in ＂All Men Are Brothers＂ whose ＂body markings＂ are divided into tatoos and golden seals. In addition to sorting out the literature, this study also discusses the context in a similar vein. The markings on the body are presented as tatoos and golden seals in the writings of ＂All Men Are Brothers＂. The Tattooed Liangshan heroes include ＂Nine Tattooed Dragons＂ Shi Jin, ＂Flowery Monk＂ Lu Zhishen, ＂Short-lived Second Son＂ Ruan Xiaowu, ＂Sick Guan Suo＂ Yang Xiong, ＂Twin-tailed Scorpion＂ Xie Bao, ＂Wonderer＂ Yan Qing and ＂Flowery Neck Tiger＂ Gong Wang; The golden sealed consists of ＂Protector of Justice＂ Song Jiang, ＂Panther Head＂ Lin Chong, ＂Pilgrim＂ Wu Song and ＂Blue Faced Beast＂ Yang Zhi. Two types of body markings not only differ in their locations and styles, the motives of the person being tattooed and the responses of the person being golden sealed vary on the psychological level. The locations and styles of the markings are influenced by the historical developments and cultural evolution; Their motivations and responses fall into the category of psychology. Therefore, the author investigates the implications of the body markings of Liangshan heroes from the perspectives of history, cultural anthropology and psychology to understand their social and cultural significance in ＂All Men Are Brothers＂.