论“竹林”概念与《竹林七贤图》的历史演变

Historical Evolution of the Concept of n Bamboo Groven and The Seven Sages of Bamboo Grove in Chinese Painting

“竹林七贤”因“游于竹林”而得名,且时人对“竹林”的理解重点在“林”而非“竹”,“竹林”的所指被模糊化。同时期相关记载侧重对“七贤”性情、行为、举止的描述。南朝时期,受“寄乐竹林”风尚的影响,“竹林”更被抽象为士人自由、超迈人格和隐逸精神的符号表征。《竹林七贤》题材作品中的“无竹”现象一直延续到《高逸图》中。随着“竹林”被认为是七贤的雅集之所,“竹林精神”被视觉化为“竹子林”。元代之后的《竹林七贤图》也打破东晋模式,“竹子”形象被纳入画面并被不断强化,使这一题材由历史人物群像画演变为指向宽泛的文人雅集图。中国不同时期的画家借此题材表达隐逸之志和雅集理想,完成“竹林精神”在不同情境下的历史转化,实现古代士人价值观念的传递和拓展。

During the Six Dynasties,the"Bamboo Grove"was blurred and abstracted into symbolic representations of scholar freedom,transcendental personality,and reclusive spirit.At this period,"bamboo grove"image was not included in these paintings of"the Seven Sages of the BambooGrove".As the"Bamboo Grove"was regarded as a gathering place for the Seven Sages,the"Bamboo Forest Spirit"was visualized as"Bamboo Forest".These paintings of"The Seven Sages of the Bamboo Grove''after the Yuan Dynasty broke the Eastern Jin Dynasty model.The image of"bamboo"was incorporated into the painting and was continuously strengthened,which transformed the subject matter from a group portrait of historical figures into a broad collection of literati.Chinese painters from different periods expressed their secluded thoughts and ideals of elegance through this subject matter,completed the historical transformation of the"bamboo forest spirit"in different situations,and realized the transmission and expansion of ancient scholars?values.