本文以南宋陆信忠《十六罗汉图》中的芭蕉湖石与芭蕉为纸的两个图像为引，分三个侧面论述芭蕉在中国文化史和艺术史上的意义传递，以及这种传递过程中所展现的佛教寓意与文人情怀、文字与图像的互动关系。芭蕉湖石和芭蕉为纸书的典故，经由佛典的隐喻转入文人书写，最终回归到佛教题材的《十六罗汉图》的图像中，在这一流传的脉络中，芭蕉的意义被复制、更变和选择，但不变的，是文人对于生命真义的诉求。%Inspired by two pictures that respectively involved the image of a banana tree beside a lake rock and the image of a banana leaf as a writing paper from a set of paintings entitled Sixteen Arhats by Lu Xinzhong of the Southern Song Dynasty, this article discusses the meaning transmission of the plantain in the history of Chinese culture and the history of Chinese art, indicating the interactions between Buddhist implication and literati complex, and between the text and the image, which were shown in the course of its meaning transmission. The allusions of ＂a banana tree beside a lake rock＂ and ＂a banana leaf as a writing paper＂, transferred from Buddhist metaphors to literati＇ s writing, and finally recurred as images in Sixteen Arhats with Buddhist themes. In this process, the meaning of the banana has been replicated, shifted and selected, but the literati＇ s appeal for the truth of life has never changed.
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