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陶渊明的部分诗文被六朝至初唐史家采摭入传,诗文塑造了一个向往田园、栖身田园而又惬意的隐者形象。沈约笔下的陶渊明形象并不是一个纯粹的隐者形象,而是独自过着隐逸生活,对世俗生活也未能决绝的个体形象。沈约刻画的陶渊明形象遵循了“孔门四科”的指导原则,以忠于国家的德行、意在归隐的政事、惬意自在的言语刻画了隐者的形象。《晋书》综合沈约、萧统的传记以整合内容,通过史家“去伪存真,去粗取精”的叙事重构,以“酒”为基本意象贯穿始终完成了陶渊明隐士形象的纯粹性书写过程。《南史》与《晋书》的书写倾向则完全不同,李延寿笔下的陶渊明形象又回到了梁代文人的接受场域,或者说又回到了沈约书写的起点。陶渊明的文学文本直接被看作是人生的主流部分,这种情况到中唐才开始发生变化,至北宋方才摆脱史传文本的全面影响,陶渊明所建构“人如其文”的特别审美形态得到更加深入的文化阐释。
Some of Tao Yuanming’s poems were collected by historians from the Six Dynasties to the early Tang Dynasty. Poetry and writing created an image of a recluse who yearned for the pastoralism and lived in the garden. The image of Tao Yuanming written by Shen Yue is not a pure hermit image but an individual image that secures hermit life and secular life. The image of Tao Yuanming, portrayed by Shen Yue, follows the guiding principles of “Confucianism, Four Subjects,” and portrays the image of the recluse with loyalty to the country and politics intended to be hidden away. “Jin Shu” comprehensive Shen Yue, Xiao Tong’s biography in order to integrate the content, through the historian “to the pseudo-real, to coarse and fine ” narrative reconstruction, to “wine ” as the basic image throughout has always completed the pure writing of Tao Yuanming’s hermit process. The writing history of “Nan Shi” and “Jin Shu” is totally different. The image of Tao Yuanming written by Li Yan-shou has returned to the accepting field of Liang dynasty scholar or returned to the starting point of Shen writing. Tao Yuanming’s literary texts were directly regarded as the mainstream part of his life. Only then did the situation begin to change in the Middle Tang Dynasty. Only by the complete influence of the historical texts, did the Northern Song Dynasty get rid of the special aesthetic form of “Man as His Man” Get more in-depth cultural interpretation.