本文敘述南宋初完成之「西塞漁社圖」的背景，畫家李結和他的七位士大夫友人在朝廷外則乞和、內則鞏固君權的政局中展開仕途。龐大的官僚體系和「包容政治」所帶來的因循矛盾，使這批士大夫在競逐浮沉於官場之餘，衷心嚮慕著隱逸的園林生活，而這種思想一旦與南方特殊的地理環境結合，就產生了像「漁社圖」這樣以「漁隱」為主題的繪畫藝術。文中經由「漁社圖」的題跋，介紹七位南宋士大夫精英的生平，除了畫家李結來自浙江吳興，七位題跋人則分別來自江蘇（范成大）、安微（尤袤、王藺）、江西（洪邁、周必大）、和四川（趙雄、閻蒼舒）。這些地區不傻代表南宋所統治的精華區域，由此也可以看出南宋人才分佈的結構。另外，題跋中揭示了他們與李結的交遊和互動，以及李結求跋的經過，不但讓讀者進一步了解李結的生平，也隨著跋文的進展，如同與畫家一同體驗了他繪製「漁社圖」的動機與心路歷程。「漁社圖」題跋的文字不佳透露出題跋人本身的學識與文采，題跋人的言法更是值得欣賞與研究的對象。七位題跋人的書法各具特色，代表宋代書法整體成就中的一個環節──尤其是從北宋四大家過渡到南宋張即之的這一階段，士人當中，以范成大的書法最為傑出。

　　　　　By way or an examination the stories behind the painting "Fishing village of Hsi-sai" the paper examines the life of Li Ch'ieh and the calligraphy of the Southern Sung literati. The painter and his seven scholar official friends attempted to promote peace and harmony outside their government positions and to strengthen the emperor's power in their official capacities. Under the bureaucracy and the politics of tolerance, the scholar officials constantly felt the pressure and paradox of their work and began to dream of leisurely living in the countryside. It is easy to see why the creation of paintings in the theme of "retreating and fishing" developed from a combination of this dream and the special geographic environment of the South. Through the postscripts, this article introduces the lives of the seven scholar officials including Fan Cheng-ta of Kiangsu, Yu Ch'iu and Wang Lin of Anwei, Hong Mai and Chou Pi-t'a of Kianghsi, and Chao Chiong and Yen Chang-shui of Szechuan. These areas not only represent the best areas under the control of the Southern Sung administration, but also illustrate how geographically widespread these talented people were. Furthermore, we can learn about the relationship between Li Ch'ieh and his friends, and how he asked them to write the postscripts. The postscripts not only offer readers the opportunity to further understand Li Ch'ieh's life, but also reveal the motives and circumstances that made him produce his paintings. Besides providing valuable information on the literary accomplishments of the scholar officials to researchers, these postscripts also allow us to appreciate and study the art of calligraphy. The seven different writing styles of the scholars represent an important link to the history of calligraphy during the Southern Sung period, especially from the period of the four great calligraphers of Northern Sung to the great master calligrapher Chang Chi-chih of the Southern Sung period. Among these seven scholars, the most outstanding calligrapher is nonetheless Fan Cheng-ta.