明清時期，由於世俗化社會逐漸形成與人際交往頻繁，以「畫像」銘刻人物或紀念事件的作風興盛，「題詠」則是人際網絡互動的具現，清初徐飢囑託謝彬繪製的個人寫 照<楓江漁父圖〉及其題詠，便是這個流行文化下的產物。在「畫像缺席」的情況下，題詠己凌駕圖本，躍身為研究者注目的焦點。該圓題詠多達七十餘則，「均出國初諾大老 之手」。諸多題詠眾聲喧嘩地組成龐大的對話紀錄，傳主徐凱在努力自我亮相與自我隱藏之間作出表演，題詠者則紛然呈現了多重的觀看與迫異的視象，使得〈楓江漁父圖〉成為一則文化扮裝之謎。本文除了進行傳記考索與文本細讀外，試圖提出遊戲、隱喻、小眾傳播、後設文本等觀點，細究一個文學個案及其關涉的書寫現象，期能為清初的文學活動帶來一個詮釋的新視野。

In the Ming and Qing dynasty， there was a trend of making portraits to commemorate a person or an event. The inscription on the portrait is esteemed as a concrete presentation of social interaction. In the early Qing dynasty， a portrait of Xie Bin named“The Portrait of Feng Jiang Fisher" was one of the representative works. There were more than seventy inscriptions on this portrait and they were all written by famous writers in that period. These literary inscriptions are abundant records of communication. “ThePortrait of Feng Jiang Fisher" is like a puzzle of cultural disguise. The writers of inscriptions expressed various perspectives after observing the self-revelation and concealment of the portrait's owner， Xu Qiu. Besides conducting research into biographies and texts， the study tries to explain further the significance of this distinct case and related literary phenomena through the aspects of game playing， metaphor， interpersonal communication， and meta-writies in the early Qing dynasty.