一、小引 由无名画工制作的顶相图,在中国绘画史中素来不为人重,随着禅宗的衰落,这一画种在中国本土竟至断线,画迹也罕有遗存。然而13世纪,当顶相飘洋过海,传至日本以后,却获得了长达四百年的辉煌,禅师肖像图成了纵贯日本镰仓、室町乃至江户时期颇具实力的艺术样式。顶相图的命运缘何会在中日两国迥然有别?13世纪时,由日本入宋僧携归的这批南宋顶相,应是导致这一戏剧性转变的关键。但是,美术史家多从风格、样式或是技法上分析它们与日本顶相图的联系,过于执着文化移植的表象,尚不能从根本上把握产生这一文化现象的原因。 First, a small phase of the topography made by anonymous painters has never been a priority in the history of Chinese painting. With the decline of Zen, the painting was actually broken in China and its remains were rarely seen. However, in the thirteenth century, when the top phase was floating across the sea and spread to Japan, it gained four hundred years of glory. The portrait of the Zen master portrait became a powerful artistic style that runs through Kamakura, Muromachi and even the Edo period in Japan. Why is the fate of the topographic picture quite different in China and Japan? The thirties of the South Song Dynasty, brought by Japanese monks and nuns, should be the key to this dramatic change. However, art historians analyze their connection with Japan’s topography from the perspective of style, style or technique. Too much attachment to the appearance of cultural transplantation can not yet fundamentally grasp the causes of this cultural phenomenon.