衣若芬的2025年 I Lo-fen in 2025
您好!我是衣若芬。2025年，您過得好嗎？
我的2025年，延續2024年的活力澎湃，向更寬廣的方向好奇發展。開始探索全球永續發展、數字傳媒、文化IP、新加坡和馬來西亞的聯合國世界文化遺產，在逐漸成熟的文圖學理論基礎上，開發新的模型架構。
今年出版了兩本書，上海人民出版社出版的全新增訂版《陪你去看蘇東坡》，增加了10篇最新的文章，包括我去年終於完成長久夙願，前往河南郟縣三蘇墳，參拜東坡先生和子由先生的感懷。以及我觀覽蘇東坡的好友畫家李公麟的傳世可能唯一真跡《五馬圖》的心情。幸運的是，今年4月有機會再訪海南儋州，踏查東坡先生登臨海南島的通潮閣遺址，以及修建的東坡先生故居桄榔庵紀念館。12月，第6次造訪東坡先生的故鄉四川眉山，在三蘇祠看到我的書中内容和我的談話兩度被引用呈現在展板上，十分榮幸！我的名字，在出版了幾本書，包括：《蘇軾題畫文學研究》《赤壁漫游與西園雅集─蘇軾研究論集》《書藝東坡》《陪你去看蘇東坡》（臺北版，北京版，上海版）《倍萬自愛：學著蘇東坡愛自己，享受快意人生》《自愛自在：蘇東坡的生活哲學》《第一次遇見蘇東坡》，以及合著的《蘇軾研究史》等等之後，和東坡先生聯繫在一起了！
今年出版的第二本書，是對於故宮博物院百年風華的致敬。10年前，故宮博物院90周年時，我應邀在兩岸故宮參加研討會，在學刊上發表論文。本想今年百年大慶，或許會有盛會，便準備好了學術論文，靜待通知。結果，應邀投稿的文章被要求刪減，改投月刊。也沒有參與研討會。
臺北故宮博物院的百年特展主題之一是“西園雅集”，我是第一個研究寫作“西園雅集”中文書的作者。兩件難得向東京國立博物館借展的李公麟《五馬圖》和南宋李生《瀟湘臥遊圖》，剛好我也都研究論述過，或許能夠幫助觀衆瞭解展覽的精義。於是，重新整理舊作，收集了11篇論文和8篇散文，編輯出版《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》電子書，并且在10月10日故宮博物院百歲生日當晚舉行綫上直播發佈會。
因應讀者需求，我在11月21日以《夢幻組合：西園雅集與李公麟》為題，以及11月27日以《山水禪心：赤壁與瀟湘》為題，分別提供了兩場臺北故宮博物院的導覽。導覽報名在開放3天之内便額滿，參與導覽的文圖學會會員和團友們來自台灣各地、新加坡、香港、美國，個個準時守紀，在濃郁的文化藝術氛圍中聽我娓娓道來，真是高素質的同好！我將一小段導覽現場錄影分享在我的YouTube頻道，不到一個星期便已經超過1萬播放量，令我驚喜。
11月27日下午，應臺北故宮博物院邀請，我主講了《千年宋韻．風月共食：跟著蘇軾和黃庭堅神遊書法文圖學之旅》。在開場30分鐘之前，便已經座無虛席，之後加了臨時座位，走道上也坐滿了觀衆。東坡先生和山谷先生仿佛俯視著我們，頷首含笑。
今年發表了10篇 研討會論文，演講和導覽總共30場。兩次飛香港；兩次飛杭州。珍惜和感恩每一個智識交會，啓發頓悟的瞬間！
中研院出版的《觀看.敘述.審美--唐宋題畫文學論集》，修訂補充，原訂今年在大陸更名為《大美之言--唐宋題畫文圖學》出版，推遲到明年。《千年宋韻.世紀故宮：衣若芬詩畫文圖學論文集》已經簽訂紙本書合同。《蘇軾題畫文學研究》絕版多年，多方垂詢，也將修訂重新出版。
一直心心念念希望親臨的重慶大足石刻、敦煌石窟，今年終於機緣完美，順利成行！由衷感謝促成機緣的四川美術學院、西北師範大學師長，以及旅途中關照我的好友們。這些點滴的回憶，是我人生中極爲可貴的寶藏。
許多預言都繪聲繪影警示未來兩年的“赤馬紅羊”，清掃無謂焦慮的言論時有所聞。自從去年開設“AIGC文圖學”課程，培養了第一批專業應用人工智能生成内容的學生，今年有3位主修AI的同學加入課程，不但讓我更清晰人工智能的“能”與“不能”，更使得我對於飛速研發的科技保持“與時俱進”、“維護人性”的平常心。如同我今年在《聯合早報》專欄的第一篇文章《2025小學生AI元年》，勢力洶洶的AI銳不可擋。明年在AIGC領域還有很多值得期待和慎思的層面。
送給大家我在日本石垣島的留戀風景。走著走著，小樹叢的空隙間露出了一灣碧海和白色的沙灘。你是解開繩索，乘小船破浪前行？還是坐在沙灘上看海吹風？又或者，你擔心那小樹叢下土溼路滑，就站在那有如心型的空隙外觀望？
迎接2026年，願你我都能夠在變動中尋得一方安生立命的空間，在不確定中靜心樂觀。我是衣若芬，祝福大家。
I Lo-fen’s 2025
Hello! I am I Lo-fen. How has your 2025 been?
My 2025 continues the vibrant momentum of 2024,
moving forward with curiosity toward broader horizons. I have begun exploring
global sustainable development, digital media, cultural IP, and UNESCO World
Heritage sites in Singapore and Malaysia. Building on the increasingly mature
theoretical foundation of Text and Image Studies, I am also developing new
model frameworks.
This year, I published two books. The Shanghai
People’s Publishing House released a newly expanded and revised edition of Accompanying
You Through the Journey of Su Dongpo, which includes ten new essays. Among
them are reflections on finally fulfilling a long-cherished wish last year—to
travel to Jia County in Henan to visit the Tombs of the Three Sus and pay
homage to Master Dongpo and Ziyou—as well as my feelings upon viewing what may
be the only surviving authentic masterpiece, Five Horses, by Su Dongpo’s
close friend, the painter Li Gonglin. I was also fortunate to revisit Danzhou
in Hainan this April, to explore the site of Tongchao Pavilion where Dongpo
once ascended after arriving on Hainan Island, as well as the newly built
Tongpo’s Former Residence, the Areca Palm Hermitage Memorial Hall. In December,
I made my sixth visit to Meishan, Sichuan—Dongpo’s hometown—and was deeply
honored to see the content of my books and quotations from my talks cited twice
on exhibition panels at the Three Su Shrine. After publishing several
books—including Su Shi’s Painting Inscriptions: A Literary Study, Wandering
at Red Cliff and the Elegant Gathering at Xiyuan, Book Art of Dongpo,
multiple editions of Accompanying You Through the Journey of Su Dongpo
(Taipei, Beijing, and Shanghai editions), Loving Yourself a Million Times,
Self-Love and Freedom, The First Encounter with Su Dongpo, as
well as the co-authored Research History of Su Shi—my name has now
become closely associated with Master Dongpo.
The second book published this year is a tribute to
the centennial splendor of the Palace Museum. Ten years ago, at the 90th
anniversary of the Palace Museum, I was invited to participate in academic
conferences at the Palace Museums on both sides of the Strait and published
papers in scholarly journals. Anticipating grand commemorations for the
centenary this year, I prepared new academic papers and waited quietly for an
invitation. In the end, the invited submission was required to be shortened and
redirected to a monthly journal, and I did not participate in a conference.
One of the themes of the National Palace Museum in
Taipei’s centennial exhibition was “The Elegant Gathering at Xiyuan.” I am the
first scholar to author a Chinese monograph on this subject. Two rare works on
loan from the Tokyo National Museum—Li Gonglin’s Five Horses and Li
Sheng’s Southern Song dynasty Reclining Journey through Xiao and Xiang
Rivers—are also works I have studied and written about, which may help
visitors better understand the essence of the exhibition. I therefore
reorganized earlier writings, compiling eleven academic papers and eight essays
into the e-book A Millennium of Song Elegance, A Century of the Palace
Museum: Text and Image Studies in Poetry and Painting by I Lo-fen, and held
an online live-streamed book launch on the evening of October 10, the Palace
Museum’s 100th birthday.
In response to readers’ requests, I led two guided
tours at the National Palace Museum in Taipei: “A Dreamlike Combination: The
Elegant Gathering at Xiyuan and Li Gonglin” on November 21, and “Landscape and
Zen Mind: Red Cliff and Xiao–Xiang” on November 27. Registration filled up
within three days. Participants—members of the Text and Image Studies Society
and tour groups—from across Taiwan, as well as Singapore, Hong Kong, and the
United States, all arrived punctually and listened attentively as I spoke in a
rich cultural and artistic atmosphere. They were truly a high-caliber community
of kindred spirits. I shared a short clip of the guided tour on my YouTube
channel, and in less than a week it surpassed 10,000 views, to my delight.
On the afternoon of November 27, at the invitation
of the National Palace Museum in Taipei, I delivered a lecture titled A
Millennium of Song Elegance: Sharing Wind and Moon—A Calligraphic and
Text-and-Image Journey with Su Shi and Huang Tingjian. Thirty minutes
before the lecture began, the hall was already full; additional seating was
added, and even the aisles were occupied. It felt as if Master Dongpo and
Master Shangu were looking down upon us, nodding with gentle smiles.
This year, I presented ten conference papers and
gave a total of thirty lectures and guided tours. I flew to Hong Kong twice and
to Hangzhou twice. I cherish and am grateful for every moment of intellectual
encounter and sudden enlightenment.
The Academia Sinica publication Seeing,
Narrating, Aesthetics: Essays on Tang–Song Painting Inscriptions, revised
and expanded, was originally scheduled to be published on the mainland this
year under the new title The Aesthetic Power of Words: Text and Image
Studies on Painting Inscriptions in the Tang and Song Dynasties, but has
been postponed to next year. The print edition contract for A Millennium of
Song Elegance, A Century of the Palace Museum has already been signed. Su
Shi’s Painting Inscriptions: A Literary Study, long out of print and
frequently inquired about, will also be revised and republished.
I had long hoped to visit the Dazu Rock Carvings in
Chongqing and the Dunhuang Grottoes, and this year the timing was finally
perfect. I am deeply grateful to the Sichuan Fine Arts Institute, Northwest
Normal University, and the friends who cared for me along the journey. These
fragments of memory are among the most precious treasures of my life.
Many vivid predictions have warned of the “Red
Horse and Red Goat” of the coming two years, and voices urging the clearing
away of unnecessary anxiety are often heard. Since launching the “Text and
Image Studies on AIGC” course last year and training the first cohort of
students in professional applications of AI-generated content, three students
majoring in AI joined the course this year. This has helped me better
understand both the capabilities and limitations of artificial intelligence,
and enabled me to maintain a calm mindset of “keeping pace with the times”
while “safeguarding humanity” amid rapid technological development. As I wrote
in my first Lianhe Zaobao column article of the year, 2025: The First
Year of AI for Elementary School Students, the force of AI is unstoppable.
There will be many aspects in the AIGC field next year that are worth both
anticipation and careful reflection.
I would like to share with you a scene I cherish
from Ishigaki Island in Japan. As I walked along, through a gap in a small
grove of trees, a curve of turquoise sea and white sand suddenly appeared.
Would you untie the ropes and set off in a small boat, cutting through the
waves? Or sit on the beach, gazing at the sea and feeling the breeze? Or
perhaps, worried that the ground beneath the grove is damp and slippery, you
choose to stand outside that heart-shaped opening and look on from afar?
As we welcome 2026, may we all find a place to
settle and stand firm amid change, and remain calm and optimistic in
uncertainty.
I am I Lo-fen, and I send my blessings to you all.
cover photo credit: Yulan Chou
