《墨林今話》與其續編可說是研究乾隆到道光年間畫史最重要的材料。尤為難能可貴的是，不同於很多中國畫史著作多輾轉抄錄前人說法，此書中所著墨的畫家及其生平、事蹟、作品、詩作等多來自作者蔣寶齡與其子蔣生之交遊與一手見聞。其中收錄的畫家多達一千餘人，雖然稍晚的李修易與近代學者余紹宋都認為其有「濫入」之虞，然而卻是此種地毯式的「濫入」，保留了很多也許以正統畫史觀之不足採錄的難得史料。其中最值得注意的是早自咸豐二年（1852）的初版中，不但蔣寶齡就紀錄了兩名日本書畫家——木下相宰與木下隆恆，蔣生在其續編中更加上安田老山與伊原愛夫婦的事略，而其後的不同版本中對於日本畫家也多有增補。

1852年初版之際，日本還處於鎖國狀態，蔣寶齡與蔣生如何獲得這方面的訊息？而之後的再版又如何增加其餘的日本畫家資訊？相信對這部分資料的進一步探討不只對於我們了解日本開國之初中日的往來提供了一個窗口，而其中的增補改動很可能也會提供我們一個分析此中日交流擴張關鍵時期之發展。因此，本文將以《墨林今話》的編輯與其再版為中心，試圖重建江戶末明治初年中日書畫圈的往來與認識。

Molin jinhua (Critique on the Present Forest of Ink) and its continuation can be considered as providing some of the most important material for the study of painting history in the Qing dynasty from the Qianlong to Daoguang period. In this book the majority of the contents dealing with the lives, events, works, and poems related to painters come from the associations that the author Jiang Baoling and his son Jiang Zhisheng shared with them as well as their first-hand information. In fact, more than thousand painters are recorded in the editions of this book. Of particular note from its initial publication in 1852 is that Jiang Baoling not only recorded two Japanese artists--Kinoshita Shousai and Kinoshita Takatsune, Jiang Zhisheng in his continuation also featured a short biographical sketch of Yasuda Rosan and his wife Ihara Megumi. In addition, in later various editions the number of Japanese painters discussed also increased. In 1852 when this book was published, Japanese was still a country closed to the rest of the world, so how did Jiang Baoling and Jiang Zhisheng get their information about the Japanese? It is believed that further investigation of this material will not only provide a window of understanding for the beginnings of Sino-Japanese relations at a time when Japan was opening up, but that the addition of information very likely will also provide us with a way to analyze the development of this key period in the expansion of Sino-Japanese relations. Thus, the present study centering on the compilation of Molin jinhua and its editions is an attempt to reconstruct the exchange and understanding among Sino-Japanese painting and calligraphy circles of the late Edo and early Meiji period.

中日交流; 晚清繪畫; 蔣寶齡; 蔣茝生; 墨林今話

Sino-Japanese interactions; late Qing Chinese Painting; Jiang Baoling; Jiang Zhisheng; Molin jinhua (Critique on the Present Forest of Ink)