進入《谿山行旅圖》Travelers Among Mountains and Streams

2025年11月26日，台灣嘉義故宮南院拍攝 11月11日到12月28日展出，現藏故宮博物院最重要的三幅北宋山水畫鉅作范寬《谿山行旅圖》、郭熙《早春圖》、李唐《萬壑松風圖》 《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》 訂購書Order book https://forms.gle/ZtWTauH66K32Nn926 Kindle https://www.amazon.com/dp/B0FRYSYPVN?...

衣若芬故宮博物院現場導覽蘇東坡《赤壁賦》I Lo-fen comments Su Dongpo's "Ode to the Red Cliff"...

2025年11月21日,衣若芬故宮導覽《夢幻組合：西園雅集與李公麟》

参看

衣若芬《赤壁漫游與西園雅集》《暢敘幽情：文圖學詩畫四重奏》（西泠印社）

《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》

訂購書Order book

https://forms.gle/ZtWTauH66K32Nn926

Kindle

https://www.amazon.com/dp/B0FRYSYPVN?...

AIGC，万年护持 AIGC, Supported for Eternity

 

在10月10日“千年宋韵.世纪故宫”的线上新书发布分享会上，我用“ 百年守护.千年神遇.甲子万年”串起两岸故宫博物院百年大庆特展的主题。“百年守护”谈民国政变促使紫禁城转为人人得以进入的博物院；避乱战火中文物迁移；新世纪新生的故宫博物院新部门新气象。“千年神遇”介绍书中11篇学术论文、8篇散文、140幅高清图像的宋韵再生与诗画文图学。“甲子万年”则缅怀培育滋养我的师长，提出用AIGC（人工智能生成）技术延续文物生命和开创时代新意义。

一位听众问我：“如何运用AIGC工具，达到 ‘甲子万年’，让后世都能欣赏历史文物？”这个问题触动了我。它不仅关乎人工智能的技术层面，更是关于“人类文明如何与时间共存”的哲学思考。

“沉浸式体验” 的展览如今已经屡见不鲜。观众不再旁观展品，也被设计成进入展品，置身其间，共同参与展品独特意趣的完成过程。在人工智能技术还不发达时，AR（Augmented Reality 增强现实）、VR（Virtual Reality 虚拟现实）和MR（Mixed Reality 混合现实）可以用三维建模（3D modeling）、实时渲染（real-time rendering）、空间定位（spatial mapping）、感应追踪（motion / gesture tracking）等计算机图形学（Computer Graphics，CG）、传感器技术 和显示技术完成。有了AIGC，“感官与空间技术”的AR、VR、MR，结合“智能与内容技术”，观众的体验会更为流畅，互动性更强。

许多博物馆都提供AR眼镜或是扫描二维码呈现展品3D复原形态，观众一边看更详尽的展品细节，听音频解说，获取丰富的资讯内涵。我想，运用AI识别物体和实时追踪，用手机和感应手环，观众除了可以听语音讲解，还可以提问，和展品互动。

例如，当我们在展厅停驻于《文会图》前，ChatGPT与AR系统便能即时生成一段讲解：“这是描绘北宋文人雅集的画作，你看垂柳依依，清风拂案……”我们可以继续发问——“这是谁画的？”、“画家想表达什么？”——甚至建模画中人物的“数字化身”，与我们回应对话，使我们仿佛参与了那场千年前的盛宴。

展览使用VR技术的例子，比如甫于2024年开放的杭州中国历代绘画大系典藏馆的“佛光朗照”体验区，观众戴上VR头显设备，可一秒“魂穿”入1937年，和寻访山西五台山佛光寺的梁思成、林徽因同款视角，凝视古寺的千年时光。在虚拟空间中跃上房梁，近距离观察这座被誉为“中国古代建筑第一瑰宝”的唐代古建筑，感受文化的厚重与精湛工艺的震撼。

先进的MR技术让我们欣赏古画，学习历史知识，还可以动手玩游戏。像《丹青纪岁时—中国古画里的传统节日》，以春节、元宵、清明、端午、七夕、中秋、重阳七个传统节目为主轴，结合绘画图像制作。我体验的是七夕主题，戴上头显设备能看到《蚕织图》和《乞巧图》等画面，听见牛郎织女传说和古代七夕乞巧民俗介绍。接着动手从养蚕开始，依照指示，顺着虚拟场景徒手在空中采桑、取蚕、缫丝、纺织。活动结束之后还能看到同时参与者的计分，颇有竞争感。

如果继续开发AIGC在AR、VR和MR领域的多元应用，我们以后的观览沉浸式体验将会更多层次。从实体的五官五感经验；到AI辅助的智能层；到人机共构的AIGC创作层；再到交互新生，身心充盈的文化体验层。我们可以为了一睹文物原件而痴痴排队，无怨无悔；也可以冯虚御风，逍遥徜徉于元宇宙，万年护持。

 

2025年12月6日，新加坡《联合早报》“上善若水”专栏

进入《文会图》

 喝完那一小口微凉的茶沫，我心满意足地赶往下一个展厅。

终于，在研究和发表宋徽宗《文会图》二十年之后，以“沉浸式体验”（Immersive Experience），在杭州中国历代绘画大系典藏馆，亲身进入了《文会图》的空间。

以往隔着玻璃展柜观看展示品的方式，近年来增添了新的趣味，我们不只是“看”展品，而是身临其境地进入展览所营造的情境与氛围中，通过多种感官调动（视觉、听觉、触觉、嗅觉，互动行为），产生情感共鸣和深度参与，称为“沉浸式体验”。

最早的沉浸式体验来自视觉。这类展览往往利用大规模投影、环绕式屏幕和动态光影，让观众被图像包围。台北故宫博物院藏的北宋郭熙《早春图》，描绘万物生机蓬勃时节的大自然；通过科技设计和体感侦测，观众可以走进山雾缭绕、溪水潺潺的画境，伸开双臂，仿佛鸟儿展翅翱翔，飞到峰顶，旋转视角，发现不一样的风景。那一刻，《早春图》从“被观看”变为“被参与”，观众也超越画框，从“旁观者”变为“共创者”。

除了虚拟的绘画影像，更直观的方式，便是复制/还原画面为真实的场景，比如眼前的《文会图》。《文会图》描绘幽静的园林中垂柳依依，繁树掩映，几位士人围坐在铺满花果美馔的长案旁，愉悦谈笑，气氛雅逸从容。侍女与仆役穿梭其间，还有一位执拍板的男子似乎要开始余兴节目。此时酒宴将尽，画面前方正准备着点茶。

展场布置了三折屏风，中央悬挂《文会图》。屏风前偌大的长案，再现画中物品。观众如果坐在环绕长案的藤椅，便宛如扮演了画中人物。于是我随性坐下，拿起酒盏，朝旁边正在插花的汉服仕女致意。

声音，是沉浸式体验的第二层通道。音乐、环境音、甚至沉默，都能建构出空间的情绪。《文会图》的 一隅石桌上有香炉、书册和古琴，暗示即将的乐音；实景的《文会图》安排了仕女弹奏古筝，营造古典的历史氛围，吸引观众接近驻足。

如果说视觉与听觉构成了感官沉浸的前奏，那么触觉与嗅觉则让沉浸进入身体的深处。

在兰州敦煌艺术博物馆复制敦煌佛教洞窟外面，放了一块砂砾岩，看似不经意的装饰，其实是让观众可以触摸，感觉石头的质感。砂砾岩容易风化，试想如此肌理上图绘的壁画如何不易保存？

香港艺术馆《好物有型》展，观众点触屏幕回答气质测验问题，可以得知适合自己格调的专属香味，并且嗅闻香味的样品。4种个性类型呈现的4种艺术家风格，不但令观众理解，也随之趋于认同。

至于五官五感中的味觉在文物艺术展览时较为操作复杂。展览不是饮食售卖，只是摆放食物的话，观众的体会稍嫌单调。与其推出成品，不如表现过程，实景《文会图》设置了现场示范点茶，将以往像宋徽宗《大观茶论》记叙的内容，配合《文会图》的画面，具体展演。

这位点茶女士将白茶粉放进茶碗，注入70度以上的热水，然后拿茶筅反复环回击拂，《大观茶论》详细说明了7次注汤的步骤细节，逐渐搅打出乳白色的泡沫—--这就是苏东坡词里的“雪沫乳花浮午盏“啊！

现代人喜欢的咖啡拉花，一千年前的宋代人早就玩过了，而且不必依靠牛奶，仅仅将热水点在搅打好的茶泡沫，形成色差水纹；或是拿茶勺轻划，花鸟虫鱼、诗词文字，栩栩浮现，所谓的“注汤幻茶”、“分茶”、“茶百戏”、“水丹青”，真是巧思灵动。

悠扬的古筝乐曲声萦回着雅集的余韵，我抚触那仿汝窑的茶盏，想起当年在台北故宫博物院报告《文会图》，“师祖”方闻教授的赞赏和嘉勉：“没想到中文系出身的学者能够研究得这么透彻。”我后来告诉方教授，我是他得意弟子石守谦老师的学生，算是他的“再传弟子”了。他笑得合不拢嘴，频频点头。我研究《文会图》的文章名为“天祿千秋”—-感恩天赐的福禄，给予我们艺术审美沉浸至生命底层的喜悦。

 

2025年11月22日,新加坡《聯合早報》“上善若水”专栏

AI是厨师，AIGC是菜肴 AI is the chef, AIGC is the dish

 

去年我写了AIGC（人工智能生成文本）文图学的书，开设AIGC文图学课程。一次，朋友介绍我说：“衣若芬是全球中文学界最懂AI的人。”我听了，连忙说：“哪里，哪里。不敢，不敢。”并不是谦虚，而是我懂得的不是研发AI，是如何利用AI工具生成文本，并且从文图学的观点分析和评估AI生成文本的优劣，进而赋予意义和价值。

很多人都混淆了AI和AIGC。新闻报道说，台湾的人文学科学生选读AI课程的意愿不高。一些同学听了第一堂课，便纷纷打退堂鼓。一位在北京交换留学的同学和我分享大学为文科开设的AI课程，包括制作语料库、搭建大语言模型。同学说：“看了课表，不明白学了这些对我们有什么用？已经有了ChatGPT这种强大的大语言模型，我们何必还要自己搭建？”

是的，文科生和一般大众需要的AI素养和技术知识的确和专攻AI的训练不一样。如同我之前在书里谈过：我们不一定要看得懂乐谱、会弹奏乐器，只要懂得欣赏，并且感受音乐给予我们的心灵滋润和情绪抚慰。就像操作手机，我们是使用者，重要的是知道手机的功能。

再举一个日常生活的比喻。AI是厨师；AIGC是菜肴；数据是食材——没有好的食材，再好的厨师也做不出美味的菜。算法模型是厨具——有了先进的厨具，厨师能更快、更高效地做菜。

想象我们走进餐厅，点了一盘东坡肉。香喷喷的东坡肉端上来，我们首先品尝的是菜，然后可能想到：“这家餐厅的厨师手艺真不错。”我们未必会烹饪，但是基本能够品尝得出菜肴酸甜苦辣的滋味，以及是否合于我们个人的胃口。如果还能够知道一些这道菜的历史背景，比如东坡肉和苏东坡的关系（虽然我考证出“苏东坡没有吃过东坡肉”），至少，围绕东坡肉的文化氛围会让我们再增添一些饮食的乐趣。

AI是整体包罗工具和技能的统合；AIGC是使用工具以后，发挥技能生成的产品，是AI的效益之一。前者是基底，后者是输出。媒体往往简单称呼，把AIGC也叫做AI，于是一旦AIGC的内容出错，便全盘否定AI的可信度，这实在“冤枉”了AI。客人吃到味道不佳的菜肴就骂厨师，但是厨师拿手的也许是别的料理。在意大利餐厅想点葱油饼，认为和披萨差不多，其实 同中有异呢。

为什么区别AI和AIGC很重要？在学校里，可以明确针对不同专业需求的学生，设计适配的课程，培养相应的能力，将来学以致用。作为消费者，知道哪些应该提高警觉，例如AI的演算法向我们推送信息，根据的是我们在互联网平台留下的数据和习惯纪录，掌握我们的兴趣和交流网络，于是精准投放。如果这是网路商店，基于演算法生成的商品（AIGC）便可能激起我们的购买欲。

在医疗方面，AI已经可以辨识一些X光和CT扫描的图像，协助医生判断病情。目前我们还不能放心直接把治疗决策交给AI，某些所谓“AI医生”给的“诊断书”（AIGC）良窳不齐，只能视为建议参考，谨慎存疑为妙。

这么说来，好像AIGC很不靠谱，我们还学它干嘛？

我们吃了一次不合意的菜肴，顶多再不去那家餐厅。调教AI厨师学人类厨师，说不定会制造出随机创新的菜肴，给予我们意外的惊喜。我让ChatGPT帮我生成 “《南洋风华》迷你套餐”，它设计的是：主菜“班兰榴莲烤鸭卷”，饮品“香茅辣椒椰子冰沙”，你想试试吗？

 

2025年11月8日,新加坡《联合早报》“上善若水”专栏

我和ChatGPT吵架!AGI來了嗎？I had a fight with ChatGPT! Is AGI here yet?

你有被AI"欺骗"過信任和感情嗎? 這是我的親身經驗 我們已經進入AGI(Artificial General Intelligence)通用人工智的時代了嗎? #aigc #文图学

东坡琴操图 Su Dongpo and Qincao Painting

 

在“翰墨因缘”展览大观近200年中国和新加坡的368幅绘画，琳琅满目，作品主要来自秋斋曾国和先生收藏。一幅任伯年（1840-1895）落款于 1892年的《东坡操琴图》尤其吸引我。

画面上方是一株高挺的松树，树干盘曲遒劲，枝叶以水墨描绘，浓淡相间，展现出松树坚韧不屈的生命力。背景的山石用淡墨皴擦，营造深远幽静的山林意境。画面的下方，苏东坡伏几与一位女性相对而坐，似在谈话。人物衣袍以淡赭、浅粉等色轻染，柔和地与墨色山石形成对比。

既然是“操琴”，而且画题的英文也是“Playing Qin”，那么，“琴”在哪里？

会不会是《东坡琴操图》？画的是苏东坡和杭州名妓琴操谈禅的故事。

扛着三大巨册，9公斤的图录回家，迫不及待再翻看这幅画的介绍，和展场看到的一样画题。查到2016年在香港展览的图录，可能从陈之初处购买时画题就是如此。

夏孙桐（1857-1942）的诗《为秦亮工题费晓楼画东坡参禅图卷》开篇叙述“画中东坡是主人，题诗意多在琴操”，可知这《东坡参禅图》画的就是苏东坡和琴操。清代沙馥（1831-1906）的《琴操参禅图》册页、徐操（1910–1970)的《琴操参禅图》立轴构图都是两人在树下谈话，和任伯年画的相近，不同的是：沙馥和徐操画的琴操屈身站立，态度恭谨，表现虚心问道。

苏东坡和琴操在谈什么呢？较早的纪录见于南宋吴曾《能改齋漫錄》，说能词善歌的琴操曾经改秦观的《滿庭芳》词韵，令苏东坡称道。有一天在西湖边，苏东坡和琴操开玩笑说：“我当长老，你来问话参禅。”

琴操便问：“什么是湖中景？”

东坡回答：“秋水共长天一色，落霞与孤鹜齐飞。” 用的是王勃《滕王閣序》的句子，描绘绚丽的傍晚水光风景。

琴操又问：“什么是景中人？”

东坡回答：“裙拖六幅湘江水，髻挽巫山一段云。” 出自唐代李群玉的《同郑相并歌姬小饮戏赠》，原诗作“鬓耸巫山一段云”。形容美人长长的裙裾像是漫漫的湘江水；高耸的发髻犹如挽着巫山的云。

琴操又问：“什么是人中意？”

东坡回答：“惜他杨学士， 憋杀鲍参军。”这两句话里讲到两个人，“鲍参军”是南朝宋的鲍照，杜甫《春日忆李白》赞美李白的诗“俊逸鲍参军”，说他有鲍照诗的清新洒脱之气。“杨学士”是谁呢？不知为何网上流传说指的是杨日严。杨日严曾经因为貪污被欧阳修弹劾，后来一直企图找机会报复。以苏东坡和欧阳修的关系，肯定不会欣赏杨日严；何况杨日严的名声地位哪里有资格和鲍照相提并论？我认为“杨学士”是指曾任崇文馆学士，初唐四杰之一的杨炯。“惜他杨学士， 憋杀鲍参军”是说才华令杨炯和鲍照都相形见绌。

苏东坡从美景、美人说到美才。 琴操最后问：“如此，究竟如何？”归根到底，这么些好事的结果会是怎么样呢？东坡用白居易《琵琶行》的诗句当头棒喝：“门前冷落车马稀，老大嫁作商人妇。”繁华落尽，你如同琵琶女，老了嫁给商人度过余生。

这，就是人生的结局？琴操听了，当下大悟，于是削发为尼。既然一切的本质是空，出家皈依佛门才能贯彻修行。

这个故事在明代流行，收在蒋一葵《尧山堂外纪》、田汝成《西湖游览志余》、梅鼎祚《青泥莲花记》之类的杂记和小说戏曲中。要注意明清以后的文献将问和答的角色对调，变成东坡问，琴操答，不符合禅宗参话头的形式了。

绘画的题目决定作品的意涵。《東坡操琴图》表现苏东坡的音乐素养；《东坡琴操图》叙说苏东坡点化琴操的传奇。两人从游戏似的“扮演”师生，谈湖中景、景中人、人中意，层层递进，到琴操悟空，真的看破红尘。我更为好奇的是：面对琴操“假戏真做”，苏东坡的反应，是惊讶？还是欣慰?

 

2025年10月25日,新加坡《联合早报》“上善若水”专栏

Su Dongpo and Qincao Painting
by I Lo-fen

In the exhibition “Affinity of Brush and Ink,” 368 paintings spanning nearly 200 years from China and Singapore were displayed, most from the collection of Mr. Khoo Seow Hwa of Chiu Zhai. Among them, one painting particularly caught my attention — Su Dongpo Playing Qin by Ren Bonian (1840–1895), inscribed in 1892.

At the top of the painting stands a tall pine tree with a twisting, vigorous trunk. The branches and leaves, rendered in ink with alternating light and dark tones, embody the tree’s resilient vitality. The background features softly inked rocks and hills, evoking a tranquil and distant mountain forest. Below, Su Dongpo sits across a low desk from a woman, seemingly in conversation. Their robes are tinted lightly with pale ochre and pink, harmoniously contrasting with the darker inked rocks.

Since the title says “Playing Qin,” where is the qin (zither)?
Could it be that the painting’s real subject is Su Dongpo and Qincao — depicting Su Dongpo’s conversation about Zen with the famous Hangzhou courtesan Qincao?

I carried home the three massive exhibition catalogues — nine kilograms in total — and eagerly flipped again to the painting’s description. The title matched exactly what I saw at the exhibition. Checking a 2016 Hong Kong exhibition catalogue, it appears the painting already bore this title when purchased, perhaps from the collector Chen Zhichu.

The Qing poet Xia Suntong (1857–1942), in his poem “Inscribed for Fei Xiaolou’s Painting of Su Dongpo’s Zen Dialogue,” began by saying: “In the painting, Su Dongpo is the master; the poetic idea lies mostly in Qincao.” From this, we know that the Su Dongpo’s Zen Dialogue painting depicts Su Dongpo and Qincao. Similar compositions appear in the Qing painter Sha Fu’s (1831–1906) Qincao’s Zen Dialogue and Xu Cao’s (1910–1970) hanging scroll of the same title, both showing the two conversing under a tree. Yet, in Sha and Xu’s versions, Qincao stands humbly before Su Dongpo, her posture expressing respect and the sincerity of a student seeking enlightenment.

So what were Su Dongpo and Qincao discussing?
The earliest record appears in Wu Zeng’s Random Jottings from the Studio of Reform (Nenggaizhai Manlu) of the Southern Song. It recounts that Qincao, skilled in lyrics and song, once altered the rhyme of Qin Guan’s Man Ting Fang to great acclaim from Su Dongpo. One day by West Lake, Dongpo jokingly said, “I shall be the abbot; you come to question and seek Zen.”

Qincao asked, “What is the scene within the lake?”
Dongpo replied, “The autumn waters share one hue with the endless sky; the setting sun and lone wild goose fly together.” — borrowing the famous line from Wang Bo’s Preface to the Pavilion of Prince Teng, describing a dazzling evening scene.

Qincao then asked, “What is the person within the scene?”
Dongpo replied, “Her skirt trails six folds of Xiang River water; her hair bun gathers a wisp of Wushan cloud.” — from Li Qinyu’s Tang poem Drinking Playfully with Courtesans alongside Minister Zheng, portraying the graceful beauty of a woman whose skirt flows like the Xiang River and hair rises like the clouds of Wushan.

Qincao asked again, “What is the essence within the person?”
Dongpo replied, “Pity Scholar Yang; he nearly stifled Officer Bao.” The “Officer Bao” here refers to Bao Zhao of the Southern Dynasties, admired by Du Fu in his poem Spring Thoughts of Li Bai for his elegant poetic style. But who was “Scholar Yang”? Some mistakenly identify him as Yang Riyian, who was impeached by Ouyang Xiu for corruption and later sought revenge. Given Su Dongpo’s deep respect for Ouyang Xiu, he certainly wouldn’t have praised Yang Riyian. Nor could that Yang’s reputation compare to Bao Zhao’s. I believe “Scholar Yang” refers instead to Yang Jiong, one of the Four Talents of the Early Tang and a Scholar of the Chongwen Institute. The phrase “Pity Scholar Yang; he nearly stifled Officer Bao” thus means that such extraordinary talent could outshine both Yang Jiong and Bao Zhao.

Su Dongpo’s answers moved from beautiful scenery, to beautiful people, to beautiful talent.
Finally, Qincao asked, “Then, in the end, what becomes of it all?”
Dongpo delivered a sobering reply, quoting Bai Juyi’s Song of the Pipa:

“Before your door the horses and carriages are few;
In your old age, you wed a merchant husband.”

When all the splendor fades, you will be like the pipa girl — aging, married to a merchant, living out the rest of your days.

So—is that the end of life’s story?
Upon hearing this, Qincao suddenly attained enlightenment, shaved her head, and became a nun. Since all is ultimately emptiness, she chose the Buddhist path to fulfill her awakening.

This story became popular in the Ming dynasty, appearing in miscellanies and fictional works such as Jiang Yikui’s Records Outside Yaoshan Hall, Tian Rucheng’s Supplementary Notes on West Lake Travels, and Mei Dingzuo’s Lotus of Green Mud. However, in later Ming and Qing retellings, the roles of questioner and responder were reversed — Su Dongpo asking, Qincao answering — which actually deviates from the traditional Zen dialogue format.

The title of a painting determines its meaning.
Su Dongpo Playing Qin highlights Su Dongpo’s musical refinement;
Su Dongpo and Qincao narrates a story of spiritual awakening.
What began as playful role-play between teacher and student — discussing the lake’s scenery, the person within it, and the essence within the person — evolved step by step into Qincao’s realization of emptiness, her renunciation of worldly life.

What fascinates me most is this:
When Qincao turned her “play” into genuine enlightenment, how did Su Dongpo respond?
With surprise — or with serenity?

Published in Lianhe Zaobao (Singapore), “Shang Shan Ruo Shui” column, October 25, 2025

《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》分享會 Text and Image Studies in Poetry and Painting...

分享會視頻簡介

2025年10月10日故宮博物院百年生日當天晚上7:30於網上

文圖學會主辦《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》發佈分享會

 

一，故宮博物院百年:政變.戰火.新生

1.故宮博物院是近代中國第一個立博物館嗎?

2.臺北故宮博物院的文物全部來自北平故宮博物院嗎?

3.臺北故宮博物院的文物比北京故宮博物院豐富嗎?

 

二，《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》的内容

11篇論文，8篇散文，477頁電子書

訂購書Order book

https://forms.gle/ZtWTauH66K32Nn926

Kindle

https://www.amazon.com/dp/B0FRYSYPVN?ref_=pe_93986420_775043100

 

1. 千載風流──「西園雅集」

2. 六一古調──歐陽脩《集古錄》

3. 洞庭秋波──《九歌圖》之《湘君》、《湘夫人》

4. 美感與諷喻──《麗人行》詩畫

5. 互文新生──《歸去來圖》、《憩寂圖》、《陽關圖》詩畫

6. 戰火與清遊──《赤壁圖》題詠

7. 無佛處稱尊──蘇軾《黃州寒食帖》

8. 歷劫神物──《黃州寒食帖》的生命旅程

9. 神龍別種—李公麟《五馬圖》

10. 天祿千秋──宋徽宗《文會圖》詩畫

11. 浮生一看──南宋李生《瀟湘臥遊圖》

***

讀者專屬視頻

 1.宋代巨星的時光膠囊：解密歐陽脩《集古錄》、蘇軾赤壁傳奇與《寒食帖》身世、《五馬圖》謎團

2.宋代「互文新生」：從陶杜王維詩意圖到題畫詩的跨界對話與哲學反思

3.杜甫〈麗人行〉的視覺翻譯：從盛唐奢華到現代鄉愁，名畫如何承載「不動聲色」的批判？

4.從圖像解讀楚辭：跨越千年的《湘君》、《湘夫人》藝術解謎與文化投射

5.跨越八百年禪思與劫難：南宋李生《瀟湘臥遊圖》的「臥遊」心法與題跋流動史

***

相關視頻

1.“千年宋韻.世紀故宮”之歌

https://youtu.be/_UP6rGQEN40

2.讀懂這首詩,你以爲的樂天派蘇東坡瞬間瓦解--黃州寒食帖

https://youtu.be/qRXQ7SBXvSE

3.衣若芬解讀宋徽宗《文會圖》詩畫

https://youtu.be/b2sDXJ56qTw

4.解開西園雅集的千年謎團

https://youtu.be/8dls8ma5AI8

5.衣若芬談蘇東坡《寒食帖》書法藝術

https://youtu.be/dMw-49D35gs

6.蘇軾《赤壁賦》題跋

https://youtu.be/RI2_pLzrhTE

7.蘇軾《赤壁賦》真跡

https://youtu.be/itoNZJmtT7Q

 

三，百年守護.千年神遇.甲子萬年

1.致敬學術前輩：

方聞、曾永義、傅申、何傳馨、李霖燦——他們代表了文人學者對藝術研究與精神文明的傳承

2.AIGC,延續與文物時代新意義

***

加入文圖學會免費贈書 Join Text and Image Studies Society and receive free books

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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

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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