以比较文学变异学的“文化过滤”思想为理论工具,以“日本近世流传的李渔肖像”为线索,结合日本国宝《十便十宜帖》的创作以及《芥子园画传》东渡日本的情况分析,挖掘出日本近世绘画世界中有关李渔形象的特殊一面,即文史兼长、离俗隐逸、独具慧眼的艺术家形象。这种形象有别于以往常被提及的作为戏剧家李渔的形象呈现的“俗”味,是一种与之相对的“雅致”。这种“雅”味的产生是文化过滤的结果,其本质是日本近世文艺界对“世袭制”积弊的反拨。

This paper takes cultural filtering as the theoretical perspective, on the basis of the research on the image of Li Yu in early modern Japan, combined with the analysis of the creation of the paintings named Copy Book of Shi Bian Shi Yi (じゅうべんじゅうぎ), which is praised as national treasure of Japan, and the spread of Painting Manual of the Mustard Seed Garden in Japan, aims to reveal the special aspect of Li Yu's image in the early modern Japanese painting world, which was an artist who is proficient in not only literary but also history, and a hermit with unique insight. This kind of image is quite different from his vulgar flavor presented as a dramatist. Instead, it showed elegance. This elegant image is the result of cultural filtering. In essence, it is the reverse of the hereditary system occurred in early modern Japanese literature and art fields.