遥祭汉唐魄力——鲁迅与汉石画像

A Remote Memory to the Soul of Han and Tang Dynasties——Lu Xun and Han Dynasty Stone Pictures

民初鲁迅,以沉默排遭痛苦,也以沉默磨炼内功。他开始搜集汉代石画像拓片,认为美术功能可以"征表一时及一族之思惟,故亦即国魂之现象",这种历史的和审美的体认延续到其晚年。"五四"以后鲁迅的社会批评和文明批评,因其金石学、考据学、画像学根底精深,变得风骨独具、元气充沛。汉画像展示着汉代经济、礼仪、娱乐的繁茂,折射着楚风、齐风、鲁风和谶纬之学的民俗风情,牵涉着西域文明、南亚文明的内传,彰显着汉人对世界一等大国的国力的自豪感。"惟汉人石刻,气魄深沉雄大",鲁迅以此思考如何激活东方美的力量,接通血脉,参证中西,融合创新。通过对其中许多器具、名物、众技百戏的辨析,以及神话传说、历史故事的解读,进入只有升仙、不见地狱的汉人仙界一历史一人间的"宇宙三界模式",进入汉人的生活史、精神史。在对鲁迅进行新古典学的研究中,将汉画像的搜集研究,看作这位文化巨人对汉唐魄力的遥祭。

At the early years of the Republic, Lu Xun bagan to collect rubbings from a tone picture tablets of Han Dynasty, and believed that the function of fine art could express the thoughts of a time or an ethnicity, i.e., the phenomenon of the soul of a country. Such a historical and aesthetic recognition had been kept in his mind until his late years. Lu Xun＇s insight in epigraphy strongly supported his social and cultural criticism. He considered to stimulate the force of the eastern aesthetics and achieved innovation through a mutual verification between the east and the west cultures. In the studies of Lu Xun＇s neoclassic features, his collection and studies of the pictures of Han Dynasty could be seen as his remote memory to the cultural soul of Han and Tang Dynasties.