从《百字令》到《竹垞图》再到《竹垞小志》——清代文人记忆中的朱彝尊及其宅园

From“Baizi Ling”to Zhucha Tu and Then to Zhucha Xiaozhi--Zhu Yizun and His Residence in the Memory of Qing Literati

朱彝尊旅居潞河时,思乡怀庐,填词《百字令·索曹次岳画竹垞图》,委托画师曹岳将宅园竹垞形于图卷。图卷经曹岳精心布景,以三个圈层呈现竹垞胜景,成为朱氏怀念故土的媒介。归田后朱氏将图卷装池,邀请李良年、徐釚等朋辈题咏,该图承载着朱氏本人及其友朋的记忆进入文人群体的视线。《竹垞图》在朱氏身后,经阮元重摹、倩人唱和,流传愈广、题咏愈多。在阮元倡议下,竹垞中最具文化意义的曝书亭得以重建;阮元复请杨璠等协助将《竹垞图》题咏与重构曝书亭纪念诗文,编订成《竹垞小志》刊刻出版。从《百字令》到《竹垞图》再到《竹垞小志》,以及这一过程中的诗文、题跋,构成一个文本衍生序列,创造出有关朱彝尊及其宅园的回忆空间,不断强化朱彝尊在清代文人群体中的记忆与形象。

When Zhu Yizun sojourned in Luhe,he was homesick for his hometown and homestead,so he created“Baizi Ling:Suo Cao Ciyue Hua Zhucha Tu”and commissioned the painter Cao Yue to form his residence,Zhucha,into a painting.The painting was carefully set by Cao Yue,presenting the beauty of Zhucha through a triple-layered layout,which became a medium for Zhu Yizun's nostalgia for his hometown.After his return to the field,Zhu Yizun mounted the painting onto a scroll and invited Li Liangnian,Xu Qiu and other friends to inscribe on it,so the painting carried the memories of Zhu Yizun himself and his friends and aroused attention among literati.After Zhu Yizun's death,the painting was facsimiled by Ruan Yuan,who also invited others to inscribe,and it became more and more widely circulated and attracted more inscriptions.At the initiative of Ruan Yuan,the most culturally significant Pushu Ting in Zhu Cha was rebuilt;Ruan Yuan then asked Yang Fan and others to help him compile the inscriptions on Zhucha Tu and the poems in honour of the reconstruction of Pushu Ting and published them as a collection called Zhucha Xiaozhi.“Baizi Ling”,Zhucha Tu and Zhucha Xiaozhi as well as the poems and inscriptions derived from the circulation process,constituted a textual derivative sequence that created a space of memory about Zhu Yizun and his residence,constantly reinforcing the memory and image of Zhu Yizun among the literati in the Qing dynasty.