再论南朝“竹林七贤”与荣启期砖画的内涵

On the Connotation of the Brick Mural of the“Seven Sages of Bamboo Grove”and Rong Qiqi in the Southern Dynasties

在至今考古发掘所能见到的“竹林七贤”与荣启期的五幅砖画中,宫山大墓的砖画称得上是最准确、最生动的一幅。从构图布局上看,除了所反映的神仙道教思想外,就是在七贤画中展示对俗世生活的一种向往或精神理想。这有其时代背景,主要有三个方面:南朝士族制度下对儒雅、文化的无限倾赏,儒学的衰落、玄谈的兴盛以及隐逸之风的泛滥等。宋、齐、梁三朝,也是对七贤已排除杂音、高度认可的时期。无疑,帝陵的绘图迎合了这些时代风尚。也正是这种社会土壤,一直在推动着这种砖画的出现,甚且因其制作繁复、技术要求高,又能以一种宏大、结构纷繁的场面来彰显帝王显赫、张扬的气势,而一度作为帝陵的标配,在逝后的世界中一再传衍,也由此开启了一个新的墓葬壁画传统。

Among the five brick murals of the Seven Sages of Bamboo Grove and Rong Qiqi found in archaeological excavations so far,the one in the Tomb in Gongshan Mountain is the most accurate and vivid.From the perspective of composition and layout,in addition to the Taoist thoughts of gods and immortals,the mural of the Seven Sages also reflects a yearning for or a spiritual ideal of secular life.This is related to its historical context mainly in three aspects:the infinite admiration for elegance and culture under the aristocratic system of the Southern Dynasties,the decline of Confucianism and the prosperity of metaphysical talk,and the proliferation of seclusion.The three dynasties of Song,Qi and Liang were also a period when the Seven Sages were highly recoginized and the disputes over them were eliminated.Undoubtedly,the murals in the imperial tombs catered to the fashion of these times.It was this kind of social soil that had nurtured the emergence of this kind of brick mural.Moreover,complicated in production and having high technical requirements,it could show an emperor's prominence and flamboyance in a grand and complex scene,therefore,it was once used as a standard feature of imperial tombs and was passed down for the world after the death,thus opening a new tradition of tomb murals.