南宋李生《潇湘卧游图》题跋考论

A Study of Colophons in the Southern Song Dynasty Painting Imaginary Tour Through Xiaoxiang

本文研究的是现藏日本东京国立博物院的南宋禅画《潇湘卧游图》中的全部题跋。目前,该画上现仍留存9条南宋人的题跋,5条明清人的题跋,另有1条南宋人的题跋散佚,但载于《石渠宝笈初编》。题跋保留的完整性,留下了丰富的资料。经由9条南宋人的题跋,可得出三个结论。第一,南宋时自上而下的修禅风气,非但使士人居士与禅师之间相互形成了紧密的关联,还使士人之间多有结社交游。第二,《潇湘卧游图》中的禅意,使南宋居士们阐发无穷,显示出深厚的禅学素养。第三,题跋中的南宋士人,并非交游圈中的画家或收藏者,而是围绕着禅社而结交的社友,对禅意的探究多过对画意的欣赏。自明代之后的题跋,则如今天常见的样貌,主要围绕鉴定、鉴藏展开论述。各种语境的题跋,生动地呈现出了不同时代和身份的士人之兴致所在。

This article studies colophons in the Southern Song dynasty Chan painting Imaginary Tour Through Xiaoxiang[潇湘卧游图] collected at the Tokyo National Museum. There are as many as nine Southern Song colophons and five Ming and Qing colophons left in the painting; another Southern Song colophon is missing, yet it is recorded in the First Edition of Shi Qu Bao Ji[石渠宝笈初编]. Those colophons provide abundant information for related study. Three conclusions could be drawn from these nine Southern Song colophons. Firstly, the prevalent Chan study at that time established close relations between the scholars and the Chan masters as well as between the scholars themselves. Secondly, the Chan connotation in the painting inspired the scholars to a great extent. Thirdly, the scholars that wrote the colophons were not painters or collectors; they were friends connected by common interest in Chan study, and they focused more on the Chan connotation than on the painting itself. Colophons after the Ming dynasty are mainly based on the appreciation and collection of the painting. Colophons with different background bear vivid characteristics of the time in terms of the image, scholars and interaction of interest.