本文以俄國漢學家阿理克購藏的晚清年畫為主要題材，集中探討其中用於端午節驅邪鎮宅的鍾馗圖。本文首先指出鍾馗圖象研究過度偏向文人畫的情形，主張生發自驅邪信仰的鍾馗圖應與民俗信仰的脈絡更緊密結合。內容追溯鍾馗畫的出現、及其與端午信仰結合終至形成「午日鍾馗」的流傳歷史，再以實例分析鍾馗畫的構圖。本文歸納出午日鍾馗融合了其他民間信仰對象的特徵，發展出天師鍾馗、金雞獨立型鍾馗、及五鬼鬧判圖等圖式。從這些圖式當中，又可一窺鍾馗畫的雅俗功用的區分與交融。

This study investigates the late Qing woodblock prints (nianhua 年畫), currently held in the Museum of History of Religion, St. Petersburg, Russia. The Russian Sinologist Vasily Mikhailovsky Alexeyev purchased them during his trip to China in early 20^(th) century. Emphasis is placed on pictures featuring Zhong Kui that were used on Dragon Boat Festival to expel evil spirits. I point out that the study of Zhong Kui images had leaned heavily on the side of literati painting. However, as a character born out of exorcism, the research of Zhong Kui's image should not be extracted from its context of folk religion. I begin with a description of the first account of Zhong Kui portrait and the subsequent merge of Zhong Kui with the exorcist customs of Dragon Boat Festival. Then I analyze several pictures of Zhong Kui and identify certain pictorial motives. I come to the conclusion that Zhong Kui picture found in those wood block prints can be classified into Master Zhang type, Kuixing type, and the five demons type. The compositions of these prints offer us a glimpse of the boundaries or blurred boundaries between the sophisticated literati painting and commercial artisan painting.