日本江戶時代的畫家狩野探幽（Kano Tanyū, 1602-1674）所繪製的古畫縮小摹本「探幽縮圖」，近年來日漸受到中國、日本、韓國繪畫史研究者的注目。本文便是從東亞繪畫史的觀點出發，嘗試指出日本私人藏《探幽縮圖卷》中所見中國繪畫的特點與重要性。

本文首先嘗試檢視目前探幽縮圖的研究情況，接著聚焦於一卷《探幽縮圖卷》（日本私人藏），辨識其中的中國繪畫的圖像來源並探討探幽模寫的特徵。經過與原畫的分析比較，筆者發現探幽的模寫並不是全然客觀的紀錄，而是依興趣強調整體構圖、特殊的母題。再者，這些探幽模寫的原畫多半來自十五、十六世紀的中國江蘇、浙江、福建地區。

Tan'yū shukuzu (Tan'yū's authentication sketches), the small sketches of ancient Chinese, Japanese and Korean paintings by the Japanese painter Kano Tan'yū (1602-1674), have caught the attentions of many art historians in recent years. From the standpoint of East Asian painting history, this essay attempts to point out the features and importance of some of the Chinese paintings recognized in a Tan'yū shukuzu handscroll in a Japanese private collection.



The essay begins with a review of the history of research on Tan'yū shukuzu. By focusing on a Tan'yū shukuzu handscroll in a Japanese private collection, I find that Tan'yū did not copy original paintings exactly but emphasized more on the composition and the motifs that interested him. Moreover, most of the Chinese paintings recognized in this handscroll originated in the Jiangsu, Zhejiang and Fujian area during the 15th or 16th Centuries.