故宮書畫錄(卷七),第四冊,頁64-66&*Portrait of T’ao Yüan-ming Anonymous Undated Painting The eighth-century art historian Chang Yen-yüan noted in the first sentence of his Record of Famous Painting Throughout the Ages that “painting is edifying; it promotes the correct relationships between people.” This portrait of T’ao Yüan-ming, a man of high moral character and a highly revered personality, is likewise meant to be edifying and to encourage the viewer to emulate T’ao’s ethical virtues. Many Chinese figure paintings are didactic in nature: depictions of loyal ministers and filial sons are meant to arouse feelings of admiration and respect, while portraits of individuals noted for their moral turpitude incite feelings of revulsion and serve as warning to the wayward. &*無款陶淵明像 繪畫除了純觀賞外,也有「成教化,助人倫」的功用。古代的人物畫中,有部分以忠臣孝子、亂臣奸賊作題材,就是寓以賞善懲惡的本意,使人見忠臣孝子而興起崇拜模仿的意念,見亂臣奸賊,生出厭惡戒慎的心情。陶濳是一位道德高尚的人物,成為人們崇敬的對象,是畫這一幅畫的本意。 本幅選自「歷代聖賢半身像冊」第二十一幅。 &*1.王耀庭,〈無款陶淵明像〉,收入王耀庭編,《淵明逸致特展圖錄》(臺北:國立故宮博物院,1988年初版),頁95。