苏轼关于墨竹画家文同的论述是文人画理论基础最为重要的一组文字。文同的《墨竹图》(现藏台北故宫博物院)一直以来都是中国绘画最具偶像性的作品之一。由于太熟悉,我们对其中的问题便熟焉不查了。我们自以为了解文同其人与其艺术,但其实却有许多误解。若仔细考察,便可知这些误解自文同时代起,一直延续到今天。本文目的在于将文同和他的《墨竹图》重置于十一世纪七十年代的背景中,而这一短暂的时期应被认为是宋代绘画发展的关键转折点。 Su Shi’s discussion of Mozhu’s painter Wen Tong is the most important group of texts on the theoretical basis of literati painting. The same “ink bamboo figure” (now Taipei National Palace Museum) has always been one of the most iconic works of Chinese painting. Because we are so familiar, we will not be familiar with any of these problems. We think that we understand the same people and their arts, but in fact there are many misunderstandings. If we look closely, we can see that these misunderstandings are from the same generation onwards, and have continued into today. The purpose of this article is to reset Wen Tong and his Ink Bamboo in the context of the 11th century, and this brief period should be considered as a key turning point in the development of Song Dynasty paintings.