「瀟湘臥遊圖」現藏於日本東京國立博物館，是南宋一位名字不詳的李姓畫家為雲谷圓照襌師所繪。 本文將「瀟湘臥遊圖」納入「瀟湘」了水文化的脈絡中考察，探討原本文人氣息濃厚的題材，如何受到襌僧的欣賞與認同。 今本「瀟湘臥遊圖」上，存有自南宋教宗乾道六年(1170)以來，以至於1924年的16則題跋，其中9則南宋文人的題跋深富襌宗思想，本文從宗教思維的角度加以一一解讀。 本文並分析了明清人如董其昌、清高宗乾隆的題跋中所透露的品鑑立場和物質慾望，與南宋人「以襌觀畫」的態度一對照。「瀟湘臥遊圖」曾經在1923年的日本關東大地震中劫後餘生，日本學者內藤湖南的題跋為「瀟湘臥遊圖」做了歷史的總結。

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.