Dream Journey Over Xiaoxiang (Xiaoxiang woyou tu)瀟湘臥遊圖, which is in the collection of the Tokyo National museum, was painted by a painter surnamed Li (Master Li) for a Chan (Zen) monk, Yungu Yuanzhao雲谷圓照, in about 1170. In literature and art, the Xiaoxiang瀟湘landscape culture was created by the literati, based on the Eight Views of Xiaoxiang, which came to symbolize exile and reclusion. The xiaoxiang tradition was also very significant in Chan Buddhism since the Tang dynasty ci詞poetry on the theme of the fisherman was important in the spread of Chan. Thus, the xiaoxiang theme would have been meaningful for yungu Yuanzhao; and since he had never been to Xiaoxiang, he asked Master Li convey the evocative scenery through a painting, later inviting numerous literati to appreciate the work. Dream Journey Over Xiaoxiang has about 16 colophons, added from 1170 to 1924. This paper analyzes these colophons, especially focusing on the nine written by literati from 1170 to 1171. These colophons, composed especially for Yungu Yuanzhao, embody Chan thought; and based on them, this paper discusses the relationship between Chan thought and painting. In addition to these nine, the colophons of dong Quichang董其昌 (1555-1636) and the Qianlong乾隆emperor (1711-1799) also showed their appreciation and pride in owning this painting. The work was saved from the fire after Tokyo’s 1923 earthquake, and the final colophon, by Naito Konan內藤湖南(1866-1934), relates the overall story of the Dream Journey Over xiaoxiang.