对故宫博物院的三个误解Three Misunderstandings About the Palace Museum

 

我盯着那张故宫博物院开放当天神武门的老照片看了又看。神武门，在紫禁城北端，现在是游客的出口。几次“进宫”开会，汽车直接从神武门驶入，避开参观的人群。

一百年前，是这样的啊。

宫楼建筑依然，现在“故宫博物院”的牌匾文字从右向左写，是郭沫若所书。一百年前，“故宫博物院”的牌匾文字从左向右，是清室善后委员会委员长，故宫博物院董事兼理事李煜瀛（石曾）的手笔，而且大门前交叉着北洋政府的五色国旗。

1925年10月10日下午两点，李煜瀛等人在乾清宫外宣布故宫博物院向大众公开展示文物。根据《民国日报》报道，首日涌入了两万多人；第二天高达三万多人，即使清宫占地辽阔 ，还是拥挤不堪！

我笑了，现在北京故宫每天限制迎接四万游客，大展期间排队三小时（有朋友说他排了六个小时），观看每件文物不超过三分钟，和百年前相比，只能说，文物的魅力历久弥新吧。

为了准备《千年宋韵.世纪故宫》的分享会，读了一些历史资料，才发现自己以前对于故宫博物院有一些误解，网上讯息时见讹传，或许读者们也和我一样不明就里，一起瞧瞧你能不能猜对。

1. 故宫博物院是中国第一个国家级的博物馆吗？

错。近代中国人自办的第一个博物馆是1905年张謇在南通成立的南通博物苑，属于地方私人性质。1914年，在故宫成立“古物陈列所”，收藏和展示来自沈阳故宫和承德避暑山庄的文物，是中国第一个国家级的博物馆。那时，末代皇帝溥仪和婉容皇后享受《清室优待条件》，还住在保和殿以北的后廷，直到1924年11月5日被冯玉祥驱逐出宫。古物陈列所在1948年并入故宫博物院。

2. 台北故宫的文物全部来自原北平故宫博物院吗？

错。1965年在台北士林成立的台北故宫博物院，正式名称是“国立故宫博物院”。其组织法第 1 条是：“为整理、保管、展出原国立北平故宫博物院及国立中央博物院筹备处所藏之歷代古文物及艺术品，并加强对中国古代文物艺术品之征集、研究、阐扬，以扩大社教功能。”除了北京故宫的文物，还包括“国立中央博物院筹备处”的文物，这“国立中央博物院筹备处”是什么单位？

我想起去年在四川李庄，临闭馆前央求门口的警卫让我们进去瞧一眼，那个“张家祠堂”外挂的是“原国立中央博物院李庄旧址”，咦~不是“中央研究院”啊？听过王叔珉老师多次回忆抗战时期避难暂居李庄的艰苦生活，到宜宾开会，特地前往距离不远的李庄。带着“朝圣”的心情，观览过梁思成、林徽因的“营造学社”，到了张家祠堂，警卫关上一半的门，挥手示意我们离开。

同行的老师改用四川话，指着我对他说：“这位老师的老师，以前就是在这里的！”

匆匆放行，我才晓得，国立中央博物院筹备处是1933年在南京成立，1949年被整并。抗战期间文物迁移，不但有古物陈列所、故宫博物院  ，还有中央博物院的藏品。在台北故宫的文物编号还可以看到“古”、“故”、“中”开头的纪录，显示来源，中央博物院的藏品里最著名的，就是现存铭文最多的毛公鼎。此外，苏轼的《黄州寒食帖》是“购“字开头，显示是购买来的。

3. 北京故宫大部分的藏品都运到台湾了，大陆所剩无几？

错。2025年的统计纪录，北京故宫的藏品有195万件（套），数量远远超过台北故宫的69万件。只不过要在600年历史的宫殿中采用现代的科技方式展示，既要保护文物，又要照顾观众的体验，并且不能破环古建筑，的确是很大的挑战。

十年前在武英殿展出过北宋张择端《清明上河图》，今年改在午门，就在故宫入口处，大家可以不用再“故宫跑”啦。百年大庆，北京、台北、嘉义，豪华的视觉盛宴。

2025年10月11日,新加坡《联合早报》“上善若水”专栏

**Three Misunderstandings About the Palace Museum**

*by I Lo-fen*

I stared again and again at that old photograph of the Shenwu Gate on the day the Palace Museum first opened. Shenwu Gate, at the northern end of the Forbidden City, now serves as the exit for visitors. When I’ve attended meetings “in the palace,” cars entered directly through this gate, bypassing the crowds.

A hundred years ago, it was like this.

The palace buildings remain the same, but today the plaque reading “The Palace Museum” is written from right to left in calligraphy by Guo Moruo. A century ago, however, the words ran from left to right—handwritten by Li Yuying (also known as Shizeng), chairman of the Qing Household Aftermath Committee and a board member and director of the Palace Museum. In front of the gate fluttered the five-colored flag of the Beiyang Government.

At 2 p.m. on October 10, 1925, Li Yuying and others announced outside the Hall of Heavenly Purity (Qianqing Palace) that the Palace Museum would officially open to the public. According to *The Republican Daily News*, over twenty thousand people flooded in on the first day, and more than thirty thousand on the second—so many that even the vast Forbidden City was overcrowded!

I laughed. Today, the Beijing Palace Museum limits daily visitors to forty thousand. During blockbuster exhibitions, people may queue for three hours (a friend told me he once waited six), and can view each artifact for no more than three minutes. Compared with a century ago, one can only say: the allure of cultural relics truly endures through time.

While preparing for my *A Millennium of Song Elegance, A Century of the Palace Museum* sharing session, I read through some historical materials and realized that I had misunderstood several things about the Palace Museum. Some online information is inaccurate—perhaps you’ve had the same misconceptions too. Let’s see if you can guess correctly.

1. Is the Palace Museum China’s first national museum?

**No.** The first museum established by Chinese people in modern times was the Nantong Museum, founded in 1905 by Zhang Jian—it was a local, privately run institution.

In 1914, the *Antiquities Exhibition Office* (古物陈列所) was set up in the Forbidden City to house and display artifacts from the Shenyang Imperial Palace and the Chengde Mountain Resort. That was China’s first *national-level* museum.

At that time, the last emperor, Puyi, and Empress Wanrong were still enjoying the privileges of the “Articles of Favorable Treatment of the Qing Imperial Family” and living in the rear court north of the Hall of Preserving Harmony (Baohe Hall), until Feng Yuxiang expelled them from the palace on November 5, 1924. The Antiquities Exhibition Office was merged into the Palace Museum in 1948.

2. Did all the artifacts in the Taipei Palace Museum come from the original Beijing Palace Museum?

**No.** The *National Palace Museum* in Taipei, established in Shilin in 1965, states in Article 1 of its organizational charter:

 “The museum shall collect, preserve, and exhibit ancient artifacts and artworks originally belonging to the National Peiping Palace Museum and the Preparatory Office of the National Central Museum, while strengthening research, interpretation, and education on Chinese antiquities.”

So, in addition to the Palace Museum’s collection, it also includes items from the *Preparatory Office of the National Central Museum*.

What was that institution?

I remembered last year in Lizhuang, Sichuan, begging a security guard at closing time to let us take a quick look inside. On the old “Zhang Family Ancestral Hall” hung a sign: “Former Site of the National Central Museum, Lizhuang.” It wasn’t “Academia Sinica”!

I had heard Professor Wang Shumin’s many recollections of the hardship of living in Lizhuang during the war years. When I attended a conference in nearby Yibin, I made a special trip there. I visited the *Society for the Study of Chinese Architecture* founded by Liang Sicheng and Lin Huiyin. At the Zhang Family Hall, the guard half-closed the door, signaling us to leave.

My colleague switched to Sichuan dialect and pointed at me:

“This teacher’s teacher used to work right here!”

We were let in briefly. Only then did I learn that the *Preparatory Office of the National Central Museum* was established in Nanjing in 1933 and merged in 1949. During the wartime evacuation, not only the Antiquities Exhibition Office and the Palace Museum collections were relocated, but also those of the Central Museum.

In the Taipei Palace Museum’s catalog numbers, you can still see prefixes like “古” (Gu), “故” (Gu), and “中” (Zhong), indicating their sources. The most famous item from the Central Museum collection is the *Mao Gong Ding*, the bronze vessel with the longest known inscription. Meanwhile, Su Shi’s *Cold Food Observance Manuscript* (*Huangzhou Hanshi Tie*) bears the prefix “购” (purchase), meaning it was later acquired.

3. Were most of Beijing’s Palace Museum artifacts shipped to Taiwan, leaving little behind?

**No.** As of 2025, the Beijing Palace Museum holds **1.95 million items (sets)**—far more than the 690,000 housed in Taipei.

However, installing modern exhibition technology within six-hundred-year-old palaces is a formidable challenge: the museum must protect the relics, enhance visitor experience, and avoid damaging the ancient architecture.

Ten years ago, the Northern Song masterpiece *Along the River During the Qingming Festival* by Zhang Zeduan was exhibited in the Hall of Martial Valor (Wuying Hall). This year, it’s being shown at the Meridian Gate (Wu Men), right at the entrance—no more running across the Palace to find it!

For its centennial celebration, Beijing, Taipei, and Chiayi have all presented magnificent visual feasts.

Lianhe Zaobao (Singapore)“Shang Shan Ruo Shui” Column

October 11, 2025

千年宋韻.世紀故宮 A Millennium of Song Elegance, A Century of the Palace Museum

《千年宋韵 世纪故宫：衣若芬诗画文图学论文集》正式发布“A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen” is officially released!

2025年10月10日，故宫博物院百岁生日，上午10点，《千年宋韵 世纪故宫：衣若芬诗画文图学论文集》正式发布!

11篇论文8篇散文，447页。读者专属视频5个。敬请指教!

垂询文图学会公众号或官网，获取赠书信息

 

On October 10, 2025, at 10 a.m., the Palace Museum celebrates its 100th anniversary, marking the official release of A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen!

The book features 11 academic papers and 8 essays, spanning 447 pages, along with 5 exclusive videos for readers.

Your feedback is most welcome!

For information on complimentary copies, please visit the Text and Image Studies Society official WeChat account or website.

蘇軾《水調歌頭.明月幾時有》"Tune: Prelude to Water Melody“ by Su Shi

每到中秋，必唱蘇東坡《水調歌頭》。

2025年，聽AI唱英文版，能不能讓您感動？

“I only wish for our loved ones to be well,

Though miles apart, we share this same moonlight."

讀懂這首詩,你以爲的樂天派蘇東坡瞬間瓦解--黃州寒食帖 Cold Food Observance Manuscript (Huangzhou H...

這是自我真實坦露的詩篇,讓我們看到達觀瀟灑的蘇東坡的内心獨白。

我仔細研究，發現應該是寫於蘇軾被貶謫黃州（湖北黃岡）的第4年，北宋神宗元豐六年（1083）。修訂以前舊說。

2025年3月6日，和四川美術學院師生解讀天下第三行書《寒食帖》

This is a poem of genuine self-revelation, allowing us to glimpse the inner monologue of the usually open-minded and carefree Su Dongpo.

After careful study, I found that it was likely written in the fourth year of Su Shi’s exile in Huangzhou (Huanggang, Hubei), during the sixth year of Emperor Shenzong’s Yuanfeng reign (1083), thus revising the previous assumption.

On March 6, 2025, I Interpreted Cold Food Observance Manuscript, known as “the third greatest running script under heaven,” together with the teachers and students of Sichuan Fine Arts Institute.

千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集

A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen

訂購書Order book

https://forms.gle/ZtWTauH66K32Nn926

綫上分享會 Online Sharing Session

https://forms.gle/dov4gZijeLJwciQj7

加入文圖學會 Join Text and Image Studies Society

forms.gle/Gys5Vu8T1DdnMu6G9

#蘇軾 

#蘇東坡 

#寒食帖

#故宮博物院

衣若芬解讀宋徽宗《文會圖》詩畫 Poetry and Painting of Sung Hui-tsung's “Literary Gather...

北宋徽宗「文會圖」現藏台北故宮博物院，是一幅描繪文人雅宴中聽琴、飲酒、品茗場面，高184.4公分，寬123.9公分的雙拼絹巨型設色掛軸。「文會圖」是否為宋徽宗親筆所繪，固然尚無定論，但是可以肯定為符合徽宗畫院繪畫風格的精緻之作，蘊含徽宗的藝術理念。 在「文會圖」的上方，有宋徽宗和蔡京的題畫詩，詩中徽宗自詡為唐太宗，網羅天下英雄為朝廷效命；蔡京則褒揚宋代更勝於唐朝，顯示濟濟人才非唐朝「十八學士」可堪比擬的自負心理。 「文會圖」與傳為徽宗的「十八學士圖」卷的構圖有部分類似，學者大多視之為自唐代閻立本以降，「十八學土」題材畫作之一例。 本文探討徽宗如何挪用與轉化「十八學士圖」典範，將功臣肖像畫式的「十八學士圖」處理為文人雅集的形態。 進而分析徽宗訂定「文會」畫題，發揮「君子以文會友，以友輔仁」意涵的旨趣，顯示徽宗個人對於文人審美風尚之認同，及其對於朝廷公讌和文人雅集歷史文化傳統之繼承。 作者並從宋代史料和蔡京、王安中等人對於徽宗朝君臣宴會的文字記錄中尋出「文會圖」的寫實依據，從而思考徽宗以「文會」模擬「十八學士」，「文會圖」的畫面布置與題詠中透露的亙古恆今之美。 The painting “Literary Gathering” (Wen-Hui Tu), attributed to emperor Hui Zong of Northern Song Dynasty, is collected in the National Palace Museum of Taipei. Wen-Hui Tu is a silk hanging scroll in colors, 184.4 cm high, 123.9 cm wide, which depicts a literati gathering in the garden, having a refined dinner, drinking wine, sipping tea, and listening to the instrument guqin. There are poems written by Song Hui Zong and his minister Cai Jing at the top of the painting. In his poem, Hui Zong praises himself as Tang Tai Zong, and calls for heroes all over the empire to do their utmost for the imperial court regardless of personal danger. In his poem, Cai Jing states that the Song Dynasty is superior to the Tang and the “eighteen scholars” of Tang can not compare to the numerous talents of the Song. The composition of Wen-Hui Tu is similar to another painting called “Eighteen Scholars”, also attributed to Song Hui Zong. The subject matter of “Eighteen Scholars” had been painted earlier by Yan Liben in Tang Dynasty as a portrait painting. This paper discusses how the portrait painting type was transformed to the literati gathering style. The author uses historical records about Hui Zong and his court officials’ banquets as basis to better understand the Wen-Hui Tu, then analyses the title ”Literary Gathering”, showing its origin in the phrase “gentlemen make friends through literature, and through friendship increase their benevolence” from the Analects (Lunyu). Overall, we see how Hui Zong’s interests and tastes are close to those of the literati, and how he inherited the refined historical cultural traditions of the imperial court scholars. 千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集 A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen 訂購書Order book https://forms.gle/ZtWTauH66K32Nn926 綫上分享會 Online Sharing Session https://forms.gle/dov4gZijeLJwciQj7 加入文圖學會 Join Text and Image Studies Society forms.gle/Gys5Vu8T1DdnMu6G9 #故宮 #故宮博物院 #文图学 #衣若芬

解開西園雅集的千年謎團 Unraveling the Millennium Mystery of the Gathering at the We...

歷史真相？還是文人理想的集體建構？ 另類的考證,認識中國古代文人的心靈世界 選自《千年宋韻 世紀故宮：衣若芬詩畫文圖學論文集》 https://forms.gle/ZtWTauH66K32Nn926 2025年10月10日故宮博物院百歲生日綫上分享會，報名： https://forms.gle/dov4gZijeLJwciQj7

書籍文圖學:三才圖會在東亞 Text and Image Studies on Books:San Cai Tu Hui in East Asia

什么是"书籍文图学"?和"书籍史"的关系?

主題標籤

千年宋韵.世纪故宫 A Millennium of Song Elegance, A Century of the Palace Museum

 

文物南迁的箱子(衣若芬摄于北京故宫宝蕴楼)

10月出生的我，大约在中学阶段，就把去故宮博物院参观当成生日的某种“仪式”。即使当天不是周末假日，还是会在10月找一天去逛逛。10月10日 ，是故宫博物院的成立纪念日，所以当月一定会有年度特展，限展42天的珍贵书画，也都会集中在那段期间亮相。而且，配合院庆，展览图录和书籍、复制品等打折出售，更是我给自己买生日礼物的好理由、好机会！

1990年 ，第一次在海峡两岸解禁之后进入庞然的紫禁城，巍峨高耸的宫墙令人望而生畏，难怪戏曲里演皇帝偷偷“微服出巡”，住在宫里挺严肃、挺紧张的吧！展览空间条件不佳，不合适书画展示，我只逛了钟表馆，于是有“台北故宫看文物；北京故宫看建筑”的印象。

移居新加坡之后，每次到台北和北京，只要时间允许，故宫是不可或缺的行程。北京故宫的武英殿，修缮得具备书画馆展厅的规模；曾经遭火患的建福宫花园，新筑成会所性质，适合召开论坛。

2014年，我应邀参加“燕行使进紫禁城” 国际研讨会，谈清代朝鲜使臣在北京的纪念肖像画。2015年，故宫博物院成立90周年，我两度受邀“进宫”，先是9月讨论《石渠宝笈》；10月10日出席“故宫博物院成立90周年暨普天同庆——清代万寿盛典展学术研讨会”。在飞檐楼阁的栏杆前远眺明代崇祯皇帝自缢之处景山；避开冲向《清明上河图》的“故宫跑”人群，享受夜场观展的幽静微邈，和千载古物直面相对。学术同行切磋琢磨，纷纷期盼着十年之后的百年大庆盛事。

继2019年之后，直到去年再在北京故宫参加元代书画国际学术研讨会，询问百年庆特展，似乎尚未定案。眼看10月将至，坊间自媒体发布的消息未见官网正式宣告。

近年两岸关系僵化，台北故宫不像十年前热烈与北京故宫合作“神笔丹青—郎世宁来华三百年”特展，而是向日本东京国立博物馆借李公麟（約1049-1106）《五马图》和南宋李生《潇湘卧游图》，推出“千年神遇——北宋西园雅集传奇”。“西园雅集”是相传在北宋驸马王诜（1048-1104）府邸举办过的一场聚会，宾客包括苏轼（1037-1101）、黄庭坚（1045-1105）诸文人。我是中文学界第一位以“西园雅集”为题出版著作的研究者， 2001年在北京出版的《赤壁漫游与西园雅集——苏轼研究论集》，是我在中国大陆出版的第一本个人书籍。

在那个互联网还不发达，没有图像数据库的年代，“西园雅集”是我1996年8月成为职业学术研究人员的第一次发表主题。为了证明“写小说的衣若芬也能做好学术研究”，我花了4个月，翻遍了所有力所能及的文献和图册，扫描、输入、整理资料。报告论文时，我是同单位第一个用PPT的主讲人。话音刚落，听众沉默地看着我，研究哲学的刘述先先生首先肯定我结合文字和图像“另类考据”的贡献，夯实了我日后创发“文图学”的基础。

方闻先生是我的“师祖”，对我分析传宋徽宗《文会图》谬赞有加。在昏暗的展厅，傅申老师的话照亮了我的迷途：“这书法不是宋徽宗，还会有谁写得出？”这位诗书画兼通的帝王，是故宫收藏的领航家。

翘首故宫百年，台北故宫的何传馨先生曾经和我商议以苏轼为焦点，毕竟收藏了全球最丰富的苏轼作品啊。上一次展览《黄州寒食帖》，是十年前。我朝着《前赤壁赋》的书迹，录制解说视频，其他参观者听得目瞪口呆，问我是何方“神圣”？

我只是一个刚好十月生日，自以为和故宫博物院天然有缘的“守艺人“。用发挥文物永恒意义的精神，从事研究和推广。怀想几位仙逝的前辈，感恩垂爱，编选十篇论文，题名《千年宋韵.世纪故宫》为念。想起我在故宫博物院前身“古物陈列所”的库房宝蕴楼看到的箱子，装载文物避乱南迁；当我百年，我无需一口箱子，我的文字，在云端空间。

 

2025年9月27日,新加坡《联合早报》“上善若水”专栏

《千年宋韵.世纪故宫》电子书

加入文图学会免费获得《千年宋韵.世纪故宫》

【預訂】《千年宋韻 世紀故宮：衣若芬詩畫文圖學論文集》【Pre-order】A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen

Pre-order 預訂

Amazon

本書彙集衣若芬博士多年關於中國詩畫與文圖學的研究成果，聚焦宋代藝術與故宮文化遺產的對話與詮釋。全書十篇論文，從“西園雅集”的公案談起，涵蓋歐陽修《集古錄》的文本研究、楚辭《九歌》中湘君、湘夫人的圖像演繹、杜甫〈麗人行〉的美學隱喻，到蘇軾《黃州寒食帖》的文圖流轉，皆以嚴謹考據與詩性思維交織展開。

書中不僅討論圖像與文字的互動，也追溯藝術作品在歷史中的流傳軌跡與文化記憶。透過文圖學的視角，本書為理解宋代藝術精髓與故宮典藏提供獨特視野，展現千年宋韻在百年故宮中的當代表達與文化迴響。

This volume brings together the fruits of Dr. I Lo-fen’s many years of research on Chinese poetry, painting, and Text and Image Studies, with a particular focus on the dialogue and interpretation between Song dynasty art and the cultural heritage of the Palace Museum. Comprising ten essays, the book begins with the case of the Gathering at the Western Garden and extends to textual studies of Ouyang Xiu’s Record of Collected Antiquities (Jigu lu), the pictorial interpretations of Xiang Jun and Xiang Furen in the Nine Songs of the Chuci, the aesthetic metaphors in Du Fu’s Song of the Fair Ladies (Li Ren Xing), and the circulation of text and image in Su Shi’s Cold Food Observance Manuscript (Huangzhou Hanshi Tie). Each chapter intertwines rigorous philological inquiry with poetic reflection.

The book not only explores the interplay between images and texts, but also traces the transmission of artworks through history and the cultural memories they embody. From the perspective of Text and Image Studies, it offers a unique lens for understanding the essence of Song art and the Palace Museum’s collections, revealing how the millennium-old elegance of the Song resonates with new expressions and cultural echoes in the centennial Palace Museum.

本書は、衣若芬（イ・ローフェン）博士が長年にわたり取り組んできた中国の詩画および文図学に関する研究成果を集大成したものであり、宋代芸術と故宮文化遺産との対話と解釈に焦点を当てています。全書は十篇の論文から構成され、「西園雅集」の公案に始まり、欧陽脩『集古録』のテキスト研究、『楚辞』〈九歌〉における湘君・湘夫人の図像的展開、杜甫〈麗人行〉の美学的隠喩、そして蘇軾『黄州寒食帖』に見られる文と図の流転に至るまで、厳密な考証と詩的思考が交錯し展開されます。

本書は、図像と文字の相互作用を論じるのみならず、歴史の中での芸術作品の伝播と文化的記憶をも追跡します。文図学の視点を通じて、宋代芸術の精髄と故宮典蔵を理解するための独自の視野を提供し、千年にわたる宋の風韻が百年の歴史を持つ故宮において、いかに現代的表現と文化的反響を示すのかを明らかにしています。

이 책은 衣若芬(이로펀)  박사가 수년간 중국의 시화(詩畫)와 문도학(文圖學)에 대해 쌓아온 연구 성과를 집대성한 것으로, 송대 예술과 고궁 문화유산 사이의 대화와 해석에 초점을 맞추고 있습니다. 전서는 열 편의 논문으로 구성되어 있으며, 「서원아집(西園雅集)」의 공안을 시작으로, 구양수의 『집고록(集古錄)』 텍스트 연구, 『초사(楚辭)』 「구가(九歌)」 속 상군(湘君)·상부인(湘夫人)의 도상적 전개, 두보(杜甫) 「여인행(麗人行)」의 미학적 은유, 그리고 소식(蘇軾) 「황주 한식첩(黃州寒食帖)」에 나타나는 문(文)과 도(圖)의 유통에 이르기까지, 엄밀한 고증과 시적인 사유가 교차하며 펼쳐집니다.

이 책은 도상과 문자 간의 상호작용을 논의할 뿐만 아니라, 예술 작품이 역사 속에서 전해지는 궤적과 그 문화적 기억을 추적합니다. 문도학의 시각을 통해 송대 예술의 정수를 이해하고 고궁 소장의 가치를 조망할 수 있는 독창적 관점을 제공하며, 천 년의 송운(宋韻)이 백 년의 고궁 안에서 어떻게 현대적 표현과 문화적 반향으로 드러나는지를 보여줍니다.

 

《千年宋韻 世紀故宮：衣若芬詩畫文圖學論文集》 A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen

Amazon
 

2025年，正值故宮博物院百年大慶。

臺北故宮舉辦《千年神遇》《甲子萬年》特展，並向日本東京國立博物館借展幾件珍品。

我曾深入研究其中幾件，願與讀者朋友分享。

想一起看看嗎？請填寫後文表單。

《千年宋韻 世紀故宮：衣若芬詩畫文圖學論文集》

即將出版電子書，內容包括：

1.西園雅集 2. 《赤壁圖》 3. 《文會圖》 4. 《寒食帖》5.《九歌圖》

6. 《歸去來辭》 7. 《麗人行》8.《集古錄》 9. 《瀟湘臥遊圖》

In 2025, the Palace Museum celebrates its centennial.

The Taipei Palace Museum is holding two special exhibitions—A Millennium of Miraculous Encounters and Ten Thousand Years of Jiazi—and has borrowed several treasures from the Tokyo National Museum.

I have studied some of these works in depth and would like to share them with readers.

Would you like to take a look together? Please fill out the form below.

A Millennium of Song Elegance, A Century of the Palace Museum: Text and Image Studies in Poetry and Painting by I Lo-fen

The forthcoming e-book will include:

1.Gathering at the Western Garden 2. Red Cliff Painting 3. Literati Gathering 4. Cold Food Observance Manuscript 4.Illustrations of the Nine Songs 6. Return Home Ode 7. Song of the Fair Ladies 5.Record of Collected Antiquities 9. Xiaoxiang Dwelling in Leisure

2025年、故宮博物院は創立100周年を迎えます。
台北故宮は《千年神遇》《甲子萬年》の特別展を開催し、東京国立博物館から数点の貴重な作品を借り受けて展示しています。
私はその中のいくつかを深く研究しており、読者の皆さまと共有したいと思います。
一緒にご覧になりませんか？ 後文のフォームにご記入ください。

『千年宋韻 世紀故宮――衣若芬詩画文図学論文集』
まもなく電子書籍として刊行予定。収録内容：

1. 西園雅集　2. 『赤壁図』　3. 『文会図』　4. 『寒食帖』5.『九歌図』　6. 『帰去来辞』　7. 『麗人行』8.『集古録』　9. 『瀟湘臥遊図』

---

2025년, 고궁박물원은 개원 100주년을 맞이합니다.
타이베이 고궁은 《천년신우》와 《갑자만년》 특별전을 열고, 일본 도쿄국립박물관에서 몇 점의 귀중한 작품을 대여하여 전시하고 있습니다.
저는 그 가운데 몇 점을 심도 있게 연구하였으며, 독자 여러분과 나누고자 합니다.
함께 살펴보시겠습니까? 아래의 양식을 작성해 주세요.

《천년송운 세기고궁: 衣若芬(이로펀) 시화문도학 논문집》
곧 전자책으로 출간될 예정이며, 수록 내용은 다음과 같습니다:

1. 서원아집 2. 《적벽도》 3. 《문회도》 4. 《한식첩》5. 《구가도》 6. 《귀거래사》 7. 《여인행》8.《집고록》 9. 《소상와유도》

預訂 Pre-order 予約 예약

AI不是烟花 AI Is Not Fireworks

 

被网上分享的烟花照片刷屏! 是啊，7月中旬开始的国庆彩排，我怎么都错过了呢？

2025年8月9日,新加坡迎来建国60周年。看展览到博物馆闭馆，走回政府大厦地铁站，刚好被国庆活动的队伍阻挡去路，跟着挥舞国旗和气球的民众，向进场阅兵的坦克车、装甲车、消防车、警车上英姿焕发的勇士们致敬呐喊！欣赏了绚丽璀璨的烟花盛会。

以往，每次看到邻居窗外悬挂国旗，心里面多多少少有些怅惘唏嘘——这，假期就要结束了。国庆日之后就是新学年开学，该收收心，准备迎接新同学，回归校园生活了。

疫情期间，某日看见邻居窗外悬挂的国旗，大吃一惊！这，假期又要结束了吗？现在几月啊？

原来，大家为了互相鼓舞，共度难关，在避免接触的情况下，让国旗代为传达致敬和感谢医护人员，也借此敦亲睦邻，彼此问候。从此，国旗给予我振奋的心情，期待和新同学相聚，展开一段知识之旅。

第二次开设“AIGC文图学”课，这是全球第一个由中文系老师设计的人工智能生成内容应用课程。比起去年，AIGC的工具突飞猛进，我重新打磨，随时更新对技术、对产业和对未来发展趋势的掌握。几位专攻人工智能的学生来修读，我很好奇，问他们怎么知道这门课？会不会太浅显？太简单？一位同学回答：“我们希望知道怎么将我们学的人工智能科学落地。“

的确，唯有落地（grounding）才足以发挥科技的普遍效益，AI已经逐步成为国家基础建设和国际竞争的实力装备。黄循财总理在国庆群众大会的演讲中，将近40次提到AI，他指出AI 是我们这个时代的决定性技术之一，强调AI提升生产力所扮演的关键角色。

几个新加坡将AI落地的实际措施令我印象深刻。例如公务机构电话接线中心现在能自动转录通话，把四种官方语言生成英文摘要。利用 AI 分析牙科 X 光片，标记可能需要填补或治疗的区域，帮助牙医更快诊断。在 Tuas 港口，机器人与 AI 系统用于自动化操作；樟宜机场也正在研究以 AI 自动处理行李运转系统。

去年教“AIGC文图学”课时，我便提醒有志从事教职的同学们关注AI在教育领域的作用，鼓励他们尝试扩展语文学习的辅助材料。后来果然有同学来分享她实习的经验和使用AI的成果。可不是嘛，今年我在《联合早报》的第一篇专栏文章，就是《2025，小学生AI元年》呢。黄循财总理谈到有华文老师用聊天机器人和学生练习口语，视频里示范的学习场景，我也和同学们设想过，不敢说“英雄所见略同”，至少，我们都清楚，善用AI，事半功倍。

无独有偶，8月26日中国国务院发布了《关于深入实施“人工智能+”行动的意见》，全面推动人工智能与各行各业的深度融合，加快培育新质生产力，构建智能经济与智能社会。意见聚焦六大重点领域：

（一）“人工智能+”科学技术

（二）“人工智能+”产业发展

（三）“人工智能+”消费提质

（四）“人工智能+”民生福祉

（五）“人工智能+”治理能力

（六）“人工智能+”全球合作

并且规划了未来10年的进程：2027年，AI在六大领域深度融合，智能终端普及率超70%  。2030年，智能经济成新增长极，普及率超90%  。2035年，全面进入智能社会。

我想到演讲时说过的邵雍推算“值年卦”——2025年是泽火革卦；2026年天火同人卦；2027年地泽临卦。象征电子、AI的“火”，在2027年退下，因为那时AI已经“百姓日用而不知”了。

有人说，今天的 AI 热潮，就像夜空里的烟花。绚烂、耀眼，却只是一瞬，稍纵即逝。但在我眼里，AI 不是烟花。它是太阳——日日升起，给予大地恒久的热与光；它是灯塔——伫立海岸，穿透迷雾，照亮前方的航程；它是火种——从今而后，点燃未来人类文明的新希望。

 

2025年9月13日,新加坡《联合早报》“上善若水”专栏

**

AI Is Not Fireworks
By I Lo-fen

Screens flooded with fireworks photos shared online! Yes, the National Day Parade rehearsals began in mid-July—how did I miss them all?

On August 9, 2025, Singapore celebrated its 60th year of independence. After staying in the museum until closing time, I walked toward the City Hall MRT station, only to be blocked by the National Day Parade procession. Following the crowd waving flags and balloons, I cheered and saluted the spirited warriors on tanks, armored vehicles, fire trucks, and police cars, before enjoying the dazzling fireworks display.

In the past, whenever I saw neighbors hanging the national flag outside their windows, I would always feel a little wistful—ah, this means the holidays are ending. National Day marked the start of a new school year. It was time to refocus, prepare to welcome new classmates, and return to campus life.

During the pandemic, one day I suddenly noticed a flag outside my neighbor’s window and was startled—was the holiday ending again? What month was it now?

It turned out that everyone, in order to encourage one another and overcome difficulties together while avoiding physical contact, let the national flag convey their respect and gratitude to healthcare workers, and also used it to connect with neighbors. From then on, the flag filled me with a renewed spirit, an anticipation of meeting new students, and the joy of beginning a journey of knowledge.

This is the second time I am offering the course “Text and Image Studies on AIGC.” It is the first AI-generated content application course designed by a professor in a Chinese Department. Compared to last year, AIGC tools have advanced rapidly. I have refined and updated the course to keep pace with the latest technologies, industries, and future trends. Several students specializing in artificial intelligence signed up. Out of curiosity, I asked them how they knew about the class. Wouldn’t it be too basic for them? One student replied: “We want to know how to put what we’ve learned about AI science into practice.”

Indeed, only through grounding can technology deliver its universal benefits. AI has gradually become an integral part of national infrastructure and a strategic tool in international competition. In his National Day Rally speech, Prime Minister Lawrence Wong mentioned AI nearly 40 times, describing it as one of the defining technologies of our era and emphasizing its key role in boosting productivity.

Several concrete measures of AI implementation in Singapore left a deep impression on me. For example, government call centers can now automatically transcribe conversations and generate English summaries from all four official languages. AI is also used to analyze dental X-rays, highlighting areas that may need fillings or treatment to help dentists diagnose faster. At Tuas Port, robots and AI systems are deployed for automated operations; Changi Airport is exploring AI for automating baggage handling.

When I taught “Text and Image Studies on AIGC” last year, I reminded students aspiring to become teachers to pay attention to the role of AI in education and encouraged them to expand teaching materials for language learning with its help. Later, a student shared her internship experience and the results she achieved using AI. Indeed, my first Lianhe Zaobao column this year was titled “2025: The AI Year for Primary School Students.” In his speech, Prime Minister Wong mentioned a Chinese-language teacher using chatbots to practice oral skills with students. The learning scenes shown in the video were scenarios my students and I had also imagined. I dare not claim “great minds think alike,” but at the very least, we both understood that wisely using AI doubles the result with half the effort.

Coincidentally, on August 26, China’s State Council issued its Opinions on Deeply Implementing the “AI+” Initiative, aiming to comprehensively integrate AI with all industries, accelerate the cultivation of new productive forces, and build an intelligent economy and society. The document highlights six priority areas:

1.     “AI+” Science and Technology

2.     “AI+” Industrial Development

3.     “AI+” Consumer Upgrading

4.     “AI+” Livelihood and Well-being

5.     “AI+” Governance Capacity

6.     “AI+” Global Cooperation

It also mapped out a 10-year roadmap: by 2027, AI will be deeply integrated into the six areas, with intelligent terminal penetration exceeding 70%. By 2030, the intelligent economy will become a new growth driver, with penetration over 90%. By 2035, society will be fully intelligent.

I recalled quoting Shao Yong’s divination of the Yearly Hexagrams in a speech: 2025 corresponds to the hexagram Ze Huo Ge (Lake over Fire, “Revolution”); 2026 to Tian Huo Tong Ren (Heaven over Fire, “Fellowship”); and 2027 to Di Ze Lin (Earth over Lake, “Approach”). The “Fire,” symbolizing electricity and AI, recedes in 2027, because by then AI will already be something “the common people use daily without realizing.”

Some say today’s AI boom is like fireworks in the night sky—brilliant, dazzling, but fleeting and short-lived. Yet in my eyes, AI is not fireworks. It is the sun—rising every day, giving the earth enduring warmth and light. It is a lighthouse—standing firmly on the shore, piercing through fog, illuminating the voyage ahead. It is a spark—from this moment onward, igniting new hope for the future of human civilization.

September 13, 2025, Lianhe Zaobao “Shang Shan Ruo Shui” column

AIは花火ではない
衣若芬（イ・ローフェン）

インターネット上に花火の写真があふれ返った！そうだ、7月中旬から始まったナショナルデーパレードのリハーサル、どうして全部見逃してしまったのだろう。

2025年8月9日、シンガポールは建国60周年を迎えた。博物館で閉館まで展示を見てから、市庁舎駅へ向かう途中、ちょうどナショナルデーの行進に道をふさがれた。旗や風船を振る群衆とともに、入場する戦車や装甲車、消防車やパトカーに乗った勇士たちに声援を送り、壮麗な花火大会を楽しんだ。

これまで、近所の窓に国旗が掲げられるのを見ると、心の中で少し切なさを感じた――ああ、休暇が終わるのだ。ナショナルデーの後は新学期が始まり、気持ちを切り替えて新しいクラスメートを迎え、再びキャンパス生活に戻らなければならなかった。

パンデミックの最中、ある日突然隣家の窓に国旗を見て、驚いた――えっ、休暇はもう終わるの？今は何月なのだ？

実は、みんなが互いに励まし合い、困難を乗り越えるため、直接会うことを避けながらも、国旗に医療従事者への敬意と感謝を託し、また隣人同士の挨拶の役割も担わせていたのだ。それ以来、国旗は私に新たな気持ちを与え、新しい仲間との出会いを楽しみにし、知の旅を始める希望を抱かせてくれるようになった。

「AIGC文図学」の授業を開講するのはこれで二度目だ。これは世界で初めて、中国文学科の教授によって設計されたAI生成コンテンツ応用の授業である。昨年と比べ、AIGCツールは飛躍的に進歩した。私は技術・産業・未来の動向を常に更新しながら、授業を磨き上げている。AI専攻の学生数名も履修していて、どうしてこの授業を知ったのか、内容が浅すぎないかと尋ねてみた。一人の学生は「私たちは、学んだAI科学をどう実践に落とし込むかを知りたいのです」と答えた。

確かに、実装（grounding）してこそ技術の普遍的な効用が発揮される。AIはすでに国家の基盤整備や国際競争の実力装備となりつつある。ナショナルデー・ラリー演説で、ローレンス・ウォン首相はAIに約40回も言及し、AIが我々の時代の決定的技術の一つであるとし、生産性向上に果たす重要な役割を強調した。

シンガポールがAIを実装しているいくつかの具体例は印象的だ。例えば政府機関のコールセンターは通話を自動で文字起こしし、四つの公用語を英語要約に変換できる。歯科用X線をAIで分析し、充填や治療が必要な箇所を示して歯科医の診断を助ける。トゥアス港ではロボットとAIシステムが自動化オペレーションに使われ、チャンギ空港では手荷物処理の自動化にAIを研究している。

昨年「AIGC文図学」を教えたとき、教職を志す学生には教育分野におけるAIの役割に注目するよう呼びかけ、語学学習の補助教材をAIで拡張してみるよう勧めた。その後、実際にインターンシップでAIを活用した成果を共有してくれた学生もいた。そう、今年私が『聯合早報』に寄稿した最初のコラムは「2025年、小学生AI元年」だったのだ。ウォン首相が演説で紹介した、中国語教師がチャットボットで生徒に口語練習をさせる映像――私たちも授業で想定した場面だった。「英雄所見略同」とまでは言えないが、少なくとも、AIを賢く使えば効率が倍増することを、双方とも理解していた。

奇しくも、8月26日、中国国務院が「AI+」行動の徹底実施に関する意見を発表し、AIと各産業の深度融合を推進し、新たな生産力を育成し、知能経済と知能社会を構築するとした。意見は六大重点分野に焦点を当てている：
（一）「AI+」科学技術
（二）「AI+」産業発展
（三）「AI+」消費高度化
（四）「AI+」民生福祉
（五）「AI+」ガバナンス能力
（六）「AI+」国際協力

さらに10年のロードマップを策定している。2027年にはAIが六分野に深く融合し、スマート端末普及率70％超。2030年には知能経済が新たな成長極となり、普及率90％超。2035年には全面的な知能社会に突入する。

私は講演で引用した邵雍の「値年卦」を思い出した――2025年は「沢火革卦」、2026年は「天火同人卦」、2027年は「地沢臨卦」。電子・AIを象徴する「火」は2027年に退き、その頃にはAIが「庶民の日用となり、気づかれない」存在になるからだ。

今日のAIブームは夜空の花火のようだと言う人がいる。華やかで眩しいが、ほんの一瞬で消えてしまう。しかし私の目には、AIは花火ではない。それは太陽だ――毎日昇り、大地に永遠の熱と光を与える。それは灯台だ――海岸に立ち、霧を突き抜け、航路を照らす。それは火種だ――これから先、人類文明の未来に新たな希望を灯すのだ。

2025年9月13日　シンガポール『聯合早報』「上善若水」コラム

AI는 불꽃놀이가 아니다
이뤄펀

온라인에는 불꽃놀이 사진이 넘쳐났다! 그래, 7월 중순부터 시작된 국경일 퍼레이드 예행연습을 어쩌다 전부 놓쳐버린 걸까?

2025년 8월 9일, 싱가포르는 건국 60주년을 맞았다. 폐관 시간까지 전시를 본 뒤 시청 MRT역으로 걸어가던 길, 마침 국경일 행사 행렬에 길이 막혔다. 국기를 흔들고 풍선을 든 시민들과 함께, 입장하는 전차·장갑차·소방차·경찰차 위 당당한 용사들에게 경례와 환호를 보내고, 화려하고 찬란한 불꽃놀이를 즐겼다.

예전에는 이웃 창밖에 국기가 걸린 것을 볼 때마다, 마음속에 약간의 아쉬움이 일곤 했다 ― 아, 방학이 끝나가는구나. 국경일이 지나면 새 학기가 시작되니, 마음을 다잡고 새 친구들을 맞을 준비를 하고, 학교 생활로 돌아가야 했다.

팬데믹 시절, 어느 날 갑자기 이웃 창밖에 걸린 국기를 보고 깜짝 놀랐다 ― 뭐야, 방학이 또 끝나는 건가? 지금이 몇 월이지?

알고 보니, 모두가 서로를 격려하고 함께 어려움을 이겨내기 위해, 직접 만날 수 없는 상황에서 국기를 의료진에 대한 존경과 감사의 표시로 내걸었고, 동시에 이웃 간의 안부 인사 역할도 맡겼던 것이다. 그때부터 국기는 내게 새로운 기운을 주었고, 새로운 학우들을 만날 설렘과 지식 여행의 기대를 안겨주었다.

“AIGC 문도학” 수업을 여는 것은 이번이 두 번째다. 이는 세계 최초로 중문학과 교수가 설계한 AI 생성 콘텐츠 응용 강좌이다. 지난해와 비교해 AIGC 도구는 비약적으로 발전했다. 나는 기술·산업·미래 동향에 맞춰 수업을 다듬고 계속 업데이트했다. 인공지능을 전공하는 학생 몇 명도 수강 신청을 했다. 나는 호기심에 물어보았다. 어떻게 이 수업을 알게 되었나요? 너무 기초적이지 않나요? 한 학생이 대답했다. “우리는 배운 인공지능 과학을 어떻게 현실에 적용할 수 있는지 알고 싶습니다.”

실제로 기술은 현실에 착지해야만 보편적 효용을 발휘할 수 있다. AI는 이미 국가 기반 시설과 국제 경쟁력의 핵심 장비가 되고 있다. 로렌스 웡 총리는 국경일 경축 연설에서 AI를 약 40회 언급하며, AI가 우리 시대의 결정적 기술 중 하나임을 강조했고, 생산성 향상에서의 핵심 역할을 역설했다.

싱가포르가 AI를 실제로 적용한 몇 가지 사례는 특히 인상적이었다. 예를 들어, 공공기관 콜센터는 전화를 자동으로 기록하고 네 개의 공용어를 영어 요약으로 변환할 수 있다. 치과 X선 사진을 AI로 분석해 충전이나 치료가 필요할 수 있는 부위를 표시해 치과 의사의 진단을 돕는다. 투아스 항에서는 로봇과 AI 시스템이 자동화 작업에 쓰이고, 창이공항은 수하물 처리 자동화를 위한 AI 연구를 진행 중이다.

작년 “AIGC 문도학” 수업에서 나는 교직을 희망하는 학생들에게 교육 분야에서의 AI 역할에 주목하라고 권했고, 언어 학습 보조 자료를 AI로 확장해 보라고 격려했다. 이후 실제 인턴십에서 AI를 활용한 경험과 성과를 공유해 준 학생도 있었다. 사실, 올해 내가 『연합조보』에 쓴 첫 칼럼은 “2025, 초등학생 AI 원년”이었다. 웡 총리가 연설에서 소개한, 중국어 교사가 챗봇으로 학생들과 회화 연습을 하는 영상 ― 나와 학생들이 상상했던 장면과도 겹쳤다. “영웅소견일치”라고 할 순 없어도, 최소한 우리 모두는 AI를 잘 활용하면 노력 대비 효과가 배가된다는 점을 분명히 알고 있었다.

공교롭게도, 8월 26일 중국 국무원은 「‘AI+’ 행동 심층 시행에 관한 의견」을 발표하여, 인공지능과 각 산업의 심층 융합을 전면적으로 추진하고, 새로운 생산력을 육성하며, 지능 경제와 지능 사회를 구축하겠다고 밝혔다. 이 의견은 여섯 가지 중점 분야에 초점을 맞추고 있다.

1. “AI+” 과학기술

2. “AI+” 산업 발전

3. “AI+” 소비 고도화

4. “AI+” 민생 복지

5. “AI+” 거버넌스 역량

6. “AI+” 국제 협력

또한 향후 10년 계획도 제시했다. 2027년까지 여섯 분야에 AI가 깊이 융합되고, 스마트 단말 보급률이 70%를 초과한다. 2030년에는 지능 경제가 새로운 성장축이 되어 보급률이 90%를 넘는다. 2035년에는 전면적인 지능 사회로 진입한다.

나는 강연에서 인용했던 소옹(邵雍)의 “치년괘”를 떠올렸다 ― 2025년은 “택화혁괘(澤火革卦)”, 2026년은 “천화동인괘(天火同人卦)”, 2027년은 “지택임괘(地澤臨卦)”. 전기와 AI를 상징하는 “불(火)”은 2027년에 물러나는데, 그때쯤이면 AI가 이미 “백성이 날마다 쓰면서도 의식하지 못하는” 존재가 되기 때문이다.

오늘날의 AI 열풍을 밤하늘의 불꽃놀이에 비유하는 이들이 있다. 화려하고 눈부시지만, 잠시 스쳐가는 찰나일 뿐이라고. 그러나 내 눈에는, AI는 불꽃놀이가 아니다. 그것은 태양이다 ― 매일 떠올라, 대지에 영원한 열과 빛을 준다. 그것은 등대다 ― 해안에 우뚝 서서 안개를 뚫고, 앞길의 항로를 비춘다. 그것은 불씨다 ― 지금부터 인류 문명의 미래에 새로운 희망을 밝히는 것이다.

2025년 9월 13일, 싱가포르 『연합조보』 「상선약수」 칼럼