康熙七年戊申（1668），長洲畫家文點（1633-1704）為李良年（1635-1694）繪製一幅畫像：〈灌園圖〉，成為康熙朝傳世三大名畫之一。畫蹟流入私家收藏，筆者未能獲睹，幸由顧修《讀畫齋偶輯》刻本可見一斑。該畫曾獲眾多名士題詠，圍繞著安陋、避世、守拙等「灌園」隱義而發。其中汪琬（1624-1691）題什最多，其鎖定「養母」以闡論之〈灌園圖記〉與〈灌園詩後序〉二文最值注意。本文聚焦於清初〈灌園圖〉建構的畫像文本，視其為一份像主李良年的「人生讀本」，由一樁偶發性生命史的瑣細雅事入手，置其於清初思想轉向與孝治舉措之權力意識紐帶作用中，試循「新文化史」徑路，追索像主與相關文人「讀畫」之複雜心靈情狀，細繹〈灌園圖〉這份集體文本所涉關於生產、傳播、接受、衍譯之種種複調性意涵。

Wen Dian 文點 completed “Guanyuan tu” 灌園圖 in 1668 for Li Liangnian 李良年. This painting later became one of the three most famous extant paintings from Kangxi’s reign and bears the inscriptions of many elite intellectuals. Themes include finding comfort in poverty and simplicity, living in austerity, withdrawing from the world, and enhancing oneself. The most talked about passages by Wang Wan 汪琬, who added the most inscriptions to the painting, are “Guanyuan tu ji” 灌園圖記and “Guanyuan shi houxu” 灌園 詩後序, on the theme of taking care of one’s mother. This study explores the literati portrait built up in “Guanyuan tu ji,” reading it as a “life of Li Liangnian.” Proceeding from an unimportant chance event in his life, this research places Li at the tipping point of directional changes in the philosophical climate of the early Qing dynasty, and deeply entangled within a political power struggle. Adopting a “new cultural history” approach, it seeks to understand the viewer’s complex mental state when interacting with ancestral images, as well as related interpretations and literature of similar imagery. This research attempts to unravel the multiple layers of the production, dissemination, and developing interpretations of this collection of ancestral representations.