隐士在李津的作品中,偶尔会出现僧人和隐士的形象。他们虽然穿着僧衣和古袍,但却头发稀疏,胡子拉碴,目光惊惧、犹疑乃至呆滞麻木,更像是精神毁伤、灵魂破败的俗世中人。不过,我的意思绝不是说,这些隐士、“伪僧人”的形象和变体,在李津的作品中是一个可有可无的符号。实际上,借助于这些形象,我们可以更为准确地捕捉到李津作品的实质。在中国传统的文人画中,僧、道和隐土一类的元素也频频出现。作为出离世间、远避尘嚣的象征,这类形象通 Hermits In Li Jin’s work, there are occasional images of monks and hermits. Although they are wearing a monk’s coat and a robe, they are sparsely haired, unshaven, staring, hesitating and even numb. They are more like the mundane worldly man who has been devastated by the spirit and ruined by the soul. However, what I mean by no means is that the images and variations of these hermits and “pseudo-monks” are an optional symbol in Li Jin’s work. In fact, with these images, we can more accurately capture the essence of Li Jin’s work. In traditional Chinese literati paintings, elements such as monks, Taoism and secularises also appear frequently. As a symbol of the world away from the hubbub, this kind of image