東華漢學第13期，2011年6月

1. 13 79-114
2011 06
**
1180-1190
1260-1270
1015-1080
**
2010.3.20-21

2. 80 13 2011 06

3. 81
1
1207-1291
1178-1249 1298
2 3
1202-1280 1226-1286
1336-1573
1397-1471
1358-1408 1436-1490 1444-1473
1539-1610
1
1989
2
1235
1241
3
1279

4. 82 13 2011 06
1394-1441 1430-1440
1437
4
5
-1525 1476
6
1 2
7
3
8
4
1976 166
109-124
5
1981
6
1931 59-63
7
2004
166-167
8
1926
675
1961.8 22-34
2 1963.7 41-45
1978
17 1991.1 155-165

5. 83
9
1257-1302
10
11
12
13 14
9
288
55 5 2004.5 72
10
24 2008.3 147-174
11
236 1964.9 79-92
12
166-168
13
1160-1600
2002 133-183

6. 84 13 2011 06
1351
15
1365
929-988
939
1972
14
198-200
2008 64-67
15
1993
14 702

7. 85
1065
1235
16
1149-1241
1037-1101
1011-1091
1039-1112 1049-1100
17
18
1188-1268 1197-1274
-1267 1232-1303
16
1994 3 3b 745
1233
17
1995
1980
7 2003 77-118
18
5 3b 757

8. 86 13 2011 06
19
1086-1142
1196-1242
1047-1126 1090-1155
20
21
19
1983 1 13
20
1985 11 115 143
21
51 1983 3 222 2076
1997 212-218
2001

9. 87
1079-1134
1615-1691
22
23
1283-1344 1333
24
22
21 1987 54b 436
23
1270-1337
24
1989 12 13 137

10. 88 13 2011 06
1333
25
26
27
28
1197 1207
25
1987 45
2423
26
1991
63 3302 39357
27
1994
14 14a 611
28
3 18

11. 89
29
30
1254
31
1197
1267
1180-1190 1260-1270
29
1983 1 10
30
4 13
31
700-701

12. 90 13 2011 06
1015-1080
32
1071-1128
33
1024-1104
34
35
36
32
2001 689-717
33
21 2002.9 1-42
34
48
2630
35
1999
36
1994 8 4b-5a

13. 91
37
38
1102-1180
39
1169
40
37
38
Alfreda Murck, (2002)
Poetry and Painting in Song China: The Subtle Art of Dissent, Cambridge:
Harvard University Press.
39
34 1932 21575
40
43 2356 27052

14. 92 13 2011 06
1074-1151
41
-1158 1129-1197
42
41
1983
5 8
33 1876 21025
42
43 2363 27128

15. 93
1170-1171
1163
43
44
45
46
43
47 1983 19 893
23 2 2005.12 99-132
44
1983 12 8a
45
46

16. 94 13 2011 06
1032-1083
1075-1119

17. 95
47
48
1118-1175
49
1224
1140-1204
50
1176-1251
51
768-824
52
47
1968 10 1 14
274 6699
48
6 92 315 6781
49
1985 5 34 386
50
1983 5 8a
51
1983 10 2
52
1994 21
520

18. 96 13 2011 06
53
1086-1153
54
1213-1218 1233-1235
55
56
538-597
53
17 906
54
2001
2005
55
2002 245-288
56
1983 9 10
278

19. 97
57
58
59
60
976-1022
61 62
63
57
1983 34 1726
58
1983 33 2 1716
59
1983 46 5 1911
60
1987 2 5 2 10 754
61
1993 56 41 949
62
2004 46-89
63
27 949

20. 98 13 2011 06
832-912
64
65
66
64
1974
65
1983 26 1
66
1999

21. 99
1546
67
67

22. 100 13 2011 06
768-834
803-852
68
751-835
69
68
1992 16 526
6030
69
9 297 3363

23. 101
70
70
1996 173

24. 102 13 2011 06
71
722-780
71
15 24a
883

25. 103
718-772
72
772-842
73
1143-1229
74
1090-1155
75
1140-1204
72
7 235 2598
73
2004 17-92
74
49 2641 30920
75
1981 327

26. 104 13 2011 06
76
1282-1366
77
78
497-569
79
80
-808
81
989-1060
76
1983 5 16b-17a
77
1983 6 10a
78
3 2005.7
1-24
79
1999
80
4 2
81
16 4

27. 105
82 83
84
85
82
83
90
84
2008
194
85
8 5a
810

28. 106 13 2011 06
712-770
86
1063-1135
87
88
1089-1163
86
7 226 2433
87
1987 22 1 3a 58
88
1 1987 30 73a 774

29. 107
635-730
89
90
91
92
93
89
1983 36 1 721
90
4 32
91
15 94
92
16 64
93
27 2004
10 1b 274

30. 108 13 2011 06
94
896-973 926-993
95
1180-1190 1260-1270
94
35 1983 1 1732
2000 180-181
95
79 1993 3 1560

31. 109
1420-1505
96
1379-1462
97
96
124
1976
1987
1992
97
1983 36 17b-18a

32. 110 13 2011 06
98
98
1986 70 2211

33. 111
1
2
3

34. 112 13 2011 06
Yu Jian and his Poetry and Painting
in Eight Views of Xiao-Xiang
Lo-fen, I
Abstract
Around the end of the fourteenth century to the beginning of the
fifteenth century, the drawing of “Eight Views of Xiao Xiang” by a monk
Yu Jian Ruo Fen has circulated to Japan. The original art work consists of
eight pieces, but now it is only left with “Autumn Moon over Dongting”
(Tokyo/Agency for Cultural Affairs), “Mountain Market, Clearing Mist”
(Tokyo/Idemitsu Museum of Arts) and “Sails Returning from a Distant
Shore” (Nagoya/The Tokugawa Art Museum).
During the late thirteenth century, Yu Jian was quite active back in his
hometown Jin Hua. From the poems that Yu Jian exchanged with other
scholars, we can estimate that Yu Jian was born in the period
between1180-1190 and passed away in the period between 1260-1270.
“Eight Views of Xiao Xiang” is created by artist Song Di (about
1015-1080) in the late Northern Song dynasty and this art work has been of
great interest to the researchers. “Xiao Xiang” is a traditional image in the
Chan, and in the trend of making “Eight Views of Xiao Xiang” in the Chan
context, Yu Jian’s work is between the “Dream Journey Over Xiao Xiang”
(Tokyo/National Museum) by Master Li in the Southern Song and the works
of Mu Xi.
In the field of Art history, many scholars have studied Yu Jian’s
paintings and have had fruitful results. However, discussions on the poems
written on the painting “Eight Views of Xiao Xiang” are rare. This paper
Associate Professor, Division of Chinese, Nanyang Technological University,
Singapore

35. 113
will analyze the eight poems written on the “Eight Views of Xiao Xiang,”
also using the three pieces of work that are left, we will discuss the aesthetic
essence of Yu Jian in his poems, calligraphy and paintings.
Research has shown that: The poems written in the Yu Jian’s “Eight
Views of Xiao Xiang” is in the form of seven quatrains, and it combined
both narrative and vivid expression of emotions, just like the Chan Ji.
However, the poems written by Yu Jian with an introduction, a climax and
an ending do not follow normal structure. His poems do not have a
conclusion and are always in a continuous and changing state. It seems like
the poems are saying that it is not easy to practice Buddhism, and there is an
inclination towards achieving secular relief.
Keywords: Yu Jian, Ruo Fen, Eight Views of Xiao-Xiang painting, Chan,
Poems on Paintings