清末民初鼎革之际,社会体制发生深刻裂变。在古与今、中与西、传统与现代的矛盾冲突中,身负新旧之学的文人大多需要重新寻找自我的身份定位,而其定位的路径与形式则因人而异。余绍宋即属其中典型。他自幼秉承中国传统教育,又曾负笈东洋饱受西学熏陶,入民国后出任司法部公职。余绍宋雅好丹青赏鉴,与当时活跃于京华的文人学者多有交往。他曾任司法部高官,组织宣南画社经年有余,可谓博学通才。余绍宋于1920年为纪念其表伯梁鼎芬过世所绘《梁格庄会葬图》,表面看也许只具纯粹纪事意义,但是深究画面内涵与题跋内容、题跋者身份,结合其公余生活整体审视,可以推测,这幅画作背后其实隐含着更为深刻的文化动机与心理诉求。余绍宋所衷心期许的是中国传统文士身份,他的精神世界更多地倾心于传统文人天地。他用《梁格庄会葬图》为逝去的古典时代奏响了一曲挽歌,也为自我的身份认同与价值重塑,编织了一张专属于传统文士天地的意义之网。 At the turn of the Qing Dynasty and early Republic of China, there was a profound fission in the social system. In the conflict between ancient and modern times, between China and the West, between tradition and modernity, most of the literati who bear the old and the new need to find their identities again, and the path and form of their orientation vary from person to person. Yu Shaosong which is typical. He upholds the traditional Chinese education since childhood, and once again suffered the Western influence of Western influence, after entering the Republic of China as the Ministry of Justice public office. Yu Shaoshao Ya good Dan appreciation, and was active in Jinghua Scholar more contacts. He served as a senior official of the Ministry of Justice, organized Xuannan painting more than a year, can be described as learned generalists. Yu Shaosong in 1920 to commemorate the death of his table bereaved painted “Liangge Zhuang Hui burial map”, the surface may only have a purely chronological significance, but the screen content and inscription content, inscriptions identity, combined with the rest of his life as a whole Examination, we can speculate that behind this painting actually implies a more profound cultural motivation and psychological appeal. Yu Shaosong, who sincerely hopes for the identity of the traditional Chinese scholar, is more inclined to devote himself to the traditional literati world. He played a song of elegy for the passing classical era with “Liangge Zhuang Hui Burial Plot”, and also weaved a net for meaning and value that is unique to the traditional literati world.