陶渊明像传.赵孟頫书

2023年-02月-06日 ➠ 815 ➠ ♥ 0

分类 Ancients古人 37篇中百篇内相关文章

赵孟頫《陶渊明像传》刻本收藏于日本早稻田大学，以连环画形式简略记载陶渊明弃官归田过清苦生活的几个特写镜头，书画结合，充分体现出士人趣味的高雅化特点。
据赵孟頫在《陶渊明像传》附录称，此画像传是以古柴桑山下陶家书院与近邻金鸡山下义门陈东佳家书院的陶渊明真身塑像为蓝本，画成主角陶渊明多个姿态像。自前至后，《陶渊明像传》犹如一部连环画，又如观赏多幕剧，伴随着画面一幕幕的行进去领略剧情的发展，而渊明形象反复出现在画卷中，叙述其一生的行藏。
第1个场景：右边有长长的引首。本图题作《陶靖节先生像》，因为陶渊明去世后私谥曰“靖节”，故而世人称他作“靖节先生”。（注意看这幅图，陶渊明看的书都是我们今天所见到的卷轴画的样子。他一手持卷，一手把笔，写字的时候悬空而写，这也符合唐以前写字的习惯，至今日本一些书法家写字还留存着这一习惯。）
渊明对他人之子的态度，其胸襟之弘阔，越发令人叹为观止。据《萧传》、《李传》载，渊明作彭泽令时，“不以家累自随，送一力给其子，书曰：汝旦夕之费，自给为难。今遣此力助汝薪水之劳。此亦人子也，可善遇之。”人们由此普遍注意到渊明的长者、仁者风范。顾易慨叹道：“公之慈祥恺悌如此！”梁启超亦云：“与子书文虽简短，蔼然长者之言，可见先生博爱襟抱之一斑也。”
第2个场景：陶渊明任彭泽令时，给家里雇佣了一个做杂役的书童。他担心家里人对书童不好，就在书信中特意强调：“此亦人子也，可善遇之。”
渊明与朋友交往，其活动内容不外乎三类：一是“有酒邀之”，或“邀之共至酒座”，或“载言载眺”的游赏式饮酒；二是“信宿酬清话，益复知为亲”的聊天；三是“辄以《周礼》往来之意”的诗文赠答。由此可见，渊明与朋友交往及其在交往中“做什么”并不重要，重要的是“如何做”的内在动机和“做之后”的心理感受。这才是分析并把握渊明人格要素的实实在在的依据。
渊明之真率自然、无拘无束，不仅体现在他与乡邻（田父）、从弟、程氏妹、儿子的日常交往中，也体现在生平大节上。王弘送酒，“即便就酌”；颜延之“日造饮”，必“酣醉”；不管贵贱，凡造访者来，“有酒辄设”；随意取头上葛巾滤酒；常抚无弦琴以寄意；日涉菊圃，徘徊孤松等行为，都是任真自得、不在乎物议的表现，而不为五斗米折腰、挥斥檀道济等行为，更把这种表现推向了极致。
第3个场景：取自《晋书•隐逸传》，写郡中官员招待陶渊明时，恰好酒熟，陶渊明就取下头上的葛巾来漉酒，以过滤杂质。完成后，又把葛巾包到了头上——这就是魏晋风度。
第4个场景：讲陶渊明不解音律，但好鼓琴，家藏了一把无弦琴，每当喝酒微醺，就抚弄以寄托远意，并对客说：“但识琴中趣，何劳弦上音？”
据《萧传》载，渊明常有“贵贱造之者，有酒辄设，若先醉，便语客，我醉欲眠，卿可去”的聚会。据《房传》载，渊明亦有“酣醉便返”、“不识主人”的交往。这些过客式的朋友，可能就是在如此交往中认识的。
第6个场景：有时陶渊明比客人先醉了，就直接对客人说：“我醉欲眠，卿可去。” 后来，李白便化用这个典故写了一首妙不可言的诗《山中与幽人对酌》：两人对酌山花开，一杯一杯复一杯。我醉欲眠卿且去，明朝有意抱琴来。
Zhao Mengfu’s “Biography of Tao Yuanming” is collected in Waseda University, Japan. It briefly records several close-ups of Tao Yuanming’s life in the form of a comic book. The combination of calligraphy and painting fully reflects the elegant characteristics of scholar interest.

According to the appendix of Zhao Mengfu’s “Biography of Tao Yuanming”, this portrait biography is based on the real statue of Tao Yuanming of the Taojia Academy at the foot of the ancient Chaisang Mountain and the Yimen Chen Dongjia Academy at the foot of the nearby Jinji Mountain. It is painted with multiple postures of the protagonist Tao Yuanming. From the beginning to the end, “The Legend of Tao Yuanming” is like a comic book, or watching a multi-screen drama. It is accompanied by the development of the plot, and the image of Yuan Ming repeatedly appears in the scroll, describing his life’s activities.

Scene 1: There is a long lead on the right. This picture is titled “The Statue of Mr. Tao Jingjie”. Since Tao Yuanming’s posthumous title is “Jingjie” after his death, the world calls him “Mr. Jingjie”. (Pay attention to this picture. Tao Yuanming reads books like scroll paintings we see today. He writes in the air with a pen and a scroll in his hand. This is also in line with the habit of writing before the Tang Dynasty, and some Japanese calligraphers still have this habit.)

Yuan Ming’s attitude towards the sons of others is more and more impressive. According to the “Biography of Xiao” and “Biography of Li”, when Yuan Ming made the order of Peng Ze, “he did not follow his family’s burden, but sent a force to his son. The book said,” You should pay for your money on the eve of the Spring Festival, and you should pay for yourself. Now I send this force to help you with your salary. This is also the son of a man, and you can meet him well. “People have generally noticed Yuan Ming’s style of being an elder and benevolent. Gu Yi sighed: “The public is so kind as Kaiti!” Liang Qichao also said: “Although the text of the book is brief, it is kind to the elders. It can be seen that the brotherly embrace of Mr

Scene 2: When Tao Yuanming was appointed as Peng Zeling, he hired a bookboy to do chores for his family. He was worried that his family would not treat the bookboy well, so he specially emphasized in his letter: “This is also the son of man, and you can meet him well.”

Yuanming’s activities with friends can be divided into three categories: first, “invite people to drink”, or “invite them to a wine seat”, or “take a look at the words”; The second is the chat of “faithfulness and accommodation pay for honest words, and benefit from the knowledge of relatives”; Third, the poems and articles that “often communicate with each other in the Book of Rites of Zhou”. It can be seen from this that it is not important for Yuanming to communicate with friends and what he “does” in the communication, but the internal motivation of “how to do” and the psychological feeling of “after doing”. This is the real basis for analyzing and grasping the elements of Yuanming’s personality.

Yuan Ming’s frankness, naturalness and freedom are not only reflected in his daily contacts with his neighbors (Tian Fu), his younger brother, Cheng’s sister and his son, but also in his life festival. Wang Hong sent wine, “even drink”; Yan Yanzhi will be “intoxicated” if he “drinks every day”; No matter how high or low a visitor comes, “wine is always served”; Take the towel on your head to filter wine at will; Frequently touch the stringed zither to express the meaning; The behaviors such as walking in the chrysanthemum garden and wandering in the lonely pine trees are all the performance of being complacent and not caring about the material argument. The behaviors such as not bowing down for five buckets of rice and scolding Tandaoji push this performance to the extreme.

The third scene: taken from “The Book of Jin • Hermit Biography”, it is written that when the county officials served Tao Yuanming, just as the wine was ripe, Tao Yuanming took off the Ge napkin on his head to soak the wine to filter impurities. After finishing, he put Ge towel on his head again – this is the style of Wei and Jin Dynasties.

The fourth scene: Tao Yuanming doesn’t understand the rhythm, but he is good at drumming and zither. He hides a stringed zither at home. When he is slightly drunk, he fondles it to express his faraway feelings, and says to the guest, “But if he knows the interest of the zither, why bother to play the music?”

According to the “Biography of Xiao”, there are often parties in Yuanming that “people of high and low quality, who are ready to drink, if they are drunk first, they will talk, and I am drunk, and I can go”. According to Fang Zhuan, Yuanming also had “drunken return” and “do not know the master” contacts. These pass-through friends may have met in such exchanges.

Scene 6: Sometimes Tao Yuanming gets drunk before the guests, and then directly says to the guests, “I’m too drunk to sleep, I can go.” Later, Li Bai used this allusion to write a wonderful poem “Drinking with Youren in the Mountain”: two people drink flowers in the mountain, one cup after another. I’m too drunk to sleep and go away. The Ming Dynasty intended to hold the piano.