吳鎮《嘉禾八景圖》被視為宋代《瀟湘八景圖》傳統在十四世紀的一個重要繼承和轉化，它接近輿圖的實景表現法也受到學者的關注，然而它的製作與地方文化意識的關聯，仍未得到充分的討論。本文認為畫家題跋中流露的地方文化意識，實為貫穿畫卷製作、整合圖文、傳達多層畫意的重要紐帶。這個研究角度不但可以幫助我們理解吳鎮以圖傳史的意圖，也可以透過景點的描繪與實際地理的比較，分析出畫卷的構圖安排隱含著四條遊覽嘉興的水路旅程。

Wu Zhen’s “Eight Views of Jiahe” has long been regarded as an important reinterpretation of the pictorial tradition of the “Eight Views of Xiaoxiang” in the fourteenth century. Its map-like representation has also attracted much scholarly attention. However, the implication of the concern with local culture, as reflected in Wu Zhen’s own inscriptions on the painting, has not been fully explored. This essay proposes that local identity was in fact the nexus that integrated the creation of the scroll, the choice of texts and images, the design and arrangement of composition, and the conveyance of meanings and functions. This perspective not only helps to uncover the artist’s intention in recording the local history of Jiahe through painting, but also reveals the embedded design of the scroll’s composition as four interrelated water routes for touring his home town.

吳鎮; 嘉禾八景; 地方志書; 嘉興水路

Wu Zhen; Eight Views of Jiahe; gazetteer; Jiaxing’s water routes