陶渊明文化形象研究

【作者】 吕菊；

【导师】 骆玉明；

【作者基本信息】 复旦大学 ， 古代文学， 2007， 博士

【摘要】 本文主要分了五个部分来展开论述，分别是陶渊明形象的建构基础、建构过程、建构层面、建构力量及其留下的文化印迹。第一部分陶渊明形象的建构基础，主要是陶渊明的基本真实和自我神化。前者从形貌、居所与社交三方面的情况来进行考察。从最直观的美术作品中看到的陶渊明形象，就已经经过了民族心理、文化理想的包装和美化。背、侧画法表明对陶渊明精神气质的更深入关注和面容五官在此情况下的悄然退避。陶渊明与玫瑰花的另类搭配则表明其形象在流传过程中渗入的其它文化因素和固有形象的变形。陶渊明的居所是自然化的形态，他充满爱意的语气和诗意化的描绘以及方位词语在环境描绘中的普遍使用表明“吾庐”是他对自我和人生进行透彻的思考和再三确认之后自觉选择的象征物，陶渊明是个自我的诗人。他对居所的称呼则体现了中国人的家园与农耕文明和自然的关系。社交关系方面从赠答诗切入，从他的赠答诗的数量比例和创作时间、答诗与赠诗的比例、称呼的方式说明陶渊明归隐后仍被认为是文人群体中的成员，而他也没有拒绝参与这种社交活动，但处于被动地位，他希望通过正式的职务称呼拉开与赠答者的距离，同时不显眼地强调自身的隐士身份。赠答诗也是他塑造自我形象、渴望知音、寻求理解的途径。陶渊明在诗文作品中进行自我神化，以《五柳先生传》和《拟古九首》其五展示完美的自我形象，并通过对上古之民心境的美化和达到了自我神化、通过尚友古贤来加强自我形象的塑造。第二部分对陶渊明文化形象的建构过程作出历时性的描绘，构成陶渊明文化形象的各种生平事迹的不断添加并最终固定，陶渊明声名的上升过程也是其文化形象的变化过程。陶渊明的形象经历高士—→名士+文士—→圣贤+顶尖诗人—→高尚的凡人和中国文化的代表这一变化过程。对陶渊明的神化和圣化从宋代开始，对他的拔高和人性化挖掘两条路子齐头并进，可见宋人对陶渊明有意识的偶像化。第三部分从横向把握陶渊明文化形象构成的层面，主要从他的性格、他的身份和思想的多重性、他的人生态度来考察。陶渊明的形象基本上是内敛的，这来自中国人“温良”的典型性格。他的无所于忤的总体形象的形成，与他的“与物多忤”(《与子俨等疏》)在中国文化的传统中的正面意义密切相关，也与“忤”的限度和魏晋时代对个性化行为容忍度密切相关。他的多重身份和思想的多重性使他成为一个开放的解释体，可以多方位地代表中国文化。而他的人生态度是在常年的疾病和亲人的死亡中挣扎和领悟的结果，使他在俗世的空气中作着天人的呼吸，是形而上和形而下的完美融合，我们可以在他所表露出来的对“新”和“夕”这两个相悖的词语的喜爱中体察出来。他的性格、他的身份和思想、他的人生态度所体现出来的多义与兼容性及正面性，使他充分具备了成为一个文化偶像的条件。第四部分的内容则是陶渊明文化形象的建构力量：中国文化的偶像崇拜特点、读者的接受和塑造、相关的争论和异域的视野。从战国、汉朝到六朝的墓葬绘画的考察发现，中国人的偶像崇拜的对象在六朝时期由神灵向人间的文化英雄转化。陶渊明继嵇康之后被塑造为另一个文化英雄。读者对于经典的形成和偶像的树立显然是不可忽视的作用力，不同层次读者的不同视点影响他们对陶渊明形象的建构。争论的产生说明形象把握的分歧之存在，静穆之争、“忠愤”说来展开。静穆之争导致陶渊明形象的研究中观念的革新和对陶渊明形象的平面性和至高性的质疑、对全面性和凡俗性的深入。对“忠愤”说的质疑显示了陶渊明忠臣义士形象的动摇，而至今不衰的支持则表明政治因素在陶渊明形象中的作用。第五部分是陶渊明在中国人的文化生活中留下的印迹。菊、酒、桃花源、舟船与渔夫、北窗高卧的闲适姿态，是其诗酒风流的风雅士、怀抱深忧的隐君子、浊世中的梦想家等诸多不同的形象所留下的文化印迹。菊是陶渊明的身份证。嗜酒是陶渊明作为风流雅士的面目之一，饮酒与高雅、风流、深沉的痛苦、自我的掩藏以及极致的哲理追求联系在一起。通过和李白、白居易喝酒方式的比较，说明渊明喝酒的瘾头比较大，而且并不计较酒的种类与喝酒的方式、花样和时间，只凭兴之所至，反而更能品出“酒中深味”。舟船意象在文学史上全面建立是陶渊明的功绩，这显示了长江流域的现实生活在陶渊明的文学创作中的深刻影响，他对舟船意象进行的哲学层面和诗意层面的申发(虚舟、壑舟是哲学层面的，诗意层面的月之船应该还没有论者述及)表明他对此意象的深刻把握。北窗高卧则是以闲适的姿态在中国文人的休闲生活中留下了深刻的影响，其中“北”的方向和“窗”的物理属性为之提供了特殊的文化意义。更多还原

【Abstract】 This thesis includes five sections: 1. the constructive basis forTao’ cultural image;2, the constructive process of Tao’s image; 3. theconstructive aspects of Tao’ s image;4, the constructive power;5, thecultural remains left by Tao.The first section discusses the constructive basis for Tao’s image,focusing on Tao’s basic reality and self-apotheosis. His basic realityis approached from three perspectives: his countenance, his residence andhis sociality. Tao’s images seen from painting works have been polishedand beautified by Chinese cultural psychology and literary ideal. Forexample, the weird combination of Tao’s image and rose blossoms indicatesthat another literature factors influenced Tao’s image and caused thedistortion of his stable image. Tao’s residence is very plain and naturalHis love-filled tone, his poetic description and the constant usage ofdirection words when depicting an environment suggest that Tao is aself-conscious poet, and wulu吾庐(my house) is a self-selected symbolafter he did deep thinking on the topic "self and life". The way headdressed his residence indicates the relationship between Chinesejiayuan,家园(home and field) and agricultural literature and nature.Tao’s sociality is approached from his poems which he exchanged withfriends. The percentage of his exchanging poems in his total works, thewriting date, the ratio of presenting poems to answering poems, and theway he addressed his friends indicate that rao was still viewed as a memberof the literary men group even after he retreated. At the same time, thoughrao did not isolate himself from social meetings, he was in a ratherpassive situation: he tried to keep a distance from people to whom heanswered a poem by addressing their formal official titles and emphasizingobscurely his hermit identity, rao used exchanging poems as a way tcself-construct his self-image, look for ziyin,知音(people whcunderstand) and seek comprehension from others. Tao apotheosized himselfin his poetry. For example, he demonstrated a perfect self-image in wuliuxiansheng zhuan,五柳先生传(the Biography of a Master with Five Willows)and nigu jiushou,拟古九首(the Nine Poems in Ancient Style). Also, hepraised the thoughts of ancient people and expressed the desire to be friends with ancient sages in order to emphasize his self-image.In the second section I made a diachronic depiction of the processof the development for Tao’s image, focusing on how a variety of Tao’slife experiences has been constantly enlarged and eventually settled whenconstructing his image. The process of Tao’s rising popularity is alsothe process of his changing cultural image. Tao’s image followed adevelopment as below: virtuous man, famed scholar and literary man, sageand the most famous poet, the noble commoner, and the represent of Chineseliterature. The apotheosis and canonizing of Tao started from the Songdynasty. The improvement of his image and exploration of his common sideswent together, which suggested the self-consciousness of the Songscholars when they idolized Tao.The third section deals with the constructive aspects of Tao’simage, discussing his personality and identity, his multiple layers ofthoughts and his attitude towards life. The basic element of Tao’s imageis self-control, a typical personality of Chinese people. His multipleidentities and thoughts make him a subject open to be explored, and healso represented Chinese literature in many respects. His attitudetowards life, which was cultivated from struggling with chronic illnessand loss of family members, make it possible for him to breathe heavenlyair in the ordinary world. His outlook is a perfect combination ofsuperorganic and realistic power, which can be observed from his fondnessof these two opposite words as xin,新(new) and xi,夕(dusk). Multiplemeanings, tolerance and positive spirit embodied in his personality,identity, thoughts, and his life attitude qualified him to be a literalicon image.The fourth section discusses the constructive power to build upTao’s cultural image by analyzing such questions as: the peculiarity ofChinese worshiping an idol; reader’s reception for certain literaryworks; related debates and the views from oversea. The subjects of Chineseidols were switched from gods and ghosts to the cultural heroes in theordinary world in the Six Dynasties through exploring the tomb paintingsfrom Warring Kingdoms, the Han Dynasty to the Six Dynasties. Tao has beenestablished as another hero after Ji Kang. Readership is not an ignorable power in relate to the establishment of the appearance and canonizationof an icon. Different perspectives from readers at different levelsdecided how they impacted the appearance of Tao’s image. Arguments, suchas "Debates of Quiet and Holy" and "Loyalty and Anger", suggestdifferent opinions on how to evaluate Tao’s image. The former debatecaused the revolution of studies on Tao’s image; it brought up questionson the flatness and highness dimension of Tao’s image and pushed the deepexploration on Tao’s whole image and his common sides. Questioning onTao’s "Loyalty and Anger" make the aspect of his image as a "virtuousofficial and sage" unstable, while the persisting proponents for thisaspect from the ancient time to today suggest that political aspectsalways play a major role in Tao’s image.The fifth section is about the remains Tao left in Chinese literarytradition: chrysanthemum, wine, peach blossom spring, boats and fishermenthe leisure posture of lying beside the north window. All of those elementsare Tao’s literary legacies for later generations generated from hismultiple images as an elegant gentleman with poetry and wine; thealcohol-addicted with deep sorrows and day dreamer in a disorder timeperiod. Chrysanthemum is Tao’s identity card. A drunk poet is one sideof his elegant person, and wine is associated with elegant, play boy, deepsorrows and self-hidden and extreme pursuit of the philosophy. Comparedto Li Bai and ru Fu, Tao has a good appetite for wine. Instead of carefullychoosing the type of wine, time, place and methods to drink, rao drinksspontaneously but gets true pleasure from his drinking, rao took the totalcredit to the appearance of images of boats and ships in Chinese tradition,which is benefited from his actual experiences of living in the Long riverregion. His explanation of boat images in their philosophical and poeticaspects ("the empty boat" belongs to the philosophy, but "the moorboat" in the poetic aspect has not ever been touched by scholars)suggested his deep understandings of this kind of images. Lying highlyin the north window is a leisure posture and has great influence in Chinesewriters’ private life. And, the dimension "north" and the physicalnature of window endowed it with a special literary meaning.更多还原