以「寒山拾得」為題的畫作有多種表現方式，本文將聚焦於特定一類——即人物仰頭上望，或以手指指向上方的畫作——探索禪林中人觀看這類作品時共享的文化脈絡。筆者將指出：由於有著共通的宗教思維方式與詩文涵養，即使畫面上方空無一物，觀者看著如啞謎般上望的畫中人物，並不感迷惑。無論中日，縱使是相隔數百年之禪林觀者，皆能了解畫意之核心；而禪僧也彼此知悉，在觀畫時，可展開由畫中形象而起，卻不拘於形象本身的發想。

筆者根據的材料，包括大量的畫作，以及僧人的語錄與畫跋。在畫作方面，現存的中國禪畫相對於日本作品而言，數量甚少，因此本文多以日本作品為例。不過，筆者將以大量的畫跋，說明宋元僧人題跋的畫面，很可能與現存日本畫作形象相近。而由赴日中國僧人，及日本僧人的語錄中，更可看到對於寒山拾得畫作理解脈絡的中日傳承。

There are many ways to paint Hanshan and Shide (J: Kanzan and Jitoku), and this study will focus on a specific type, in which the two persons are shown as looking up or pointing up with fingers. The meaning of this type of painting often remains unexplained in modern studies, or is vaguely described as containing some message of Zen. This study, however, will prove that both Chinese and Japanese monks understood that Hanshan and Shide were looking at the moon even though nothing was painted on the paper or silk.

This study probes into the issue of how Zen monks interpreted paintings. They did not limit themselves to the images painted, but they did not develop their imagination completely freely. This paper, based on inscriptions and records of monks, demonstrates that Zen monks showed their personal expression with mutual understanding. In this case, they were all familiar with a poem written by Hanshan, even though the contents were not clearly illustrated in the paintings. This paper also argues that Japanese Zen paintings were not similar to the Chinese prototypes only in forms; instead, Japanese viewers fully understood the context with which Chinese monks interpreted paintings.

寒山; 拾得; 寒山詩; 禪畫; 以月喻心; 可翁

Hanshan; Shide; Kanzan; Jitoku; Zen painting