中國山水詩表現模式之嬗變──從謝靈運到王維

Abstract

本論文旨在考察中國山水詩中最重要的兩種美典：謝靈運的「形似美典」以及王維的「含蓄美典」之建立與發展過程。以這兩大美典為核心，往前追溯「形似美典」所繼承的傳統，以及從「形似美典」向「含蓄美典」轉移的過程。謝靈運以前的早期寫景詩明顯受到辭賦文學描寫形式的影響，並逐步建立詩歌本身的描寫方式，謝靈運即在廣泛吸收前代描寫形式的基礎上，加之以個人天才的獨創，乃終於建立中國山水詩之「形似美典」。此一美典以「巧構形似之言」為基本特徵，主要採取一種「隨物以宛轉」的寫實態度，企圖捕捉、呈現紛繁的物色之美，建立一個結構井然的建築式自然空間。儘管謝靈運以形似之筆創造中國山水詩的第一座高峰，但隨即又在繼起詩人的手中發生轉化，山水詩的描寫不再念茲在茲於逼肖形似，焦點又回到對於抒情自我的關懷上，或以詠物的筆法藉風光景物寫日常生活中的種種情趣與悲喜；或以高度簡練概括的修辭傳山水之大意，並將抒情自我巧妙地寓託其間，造成人與自然的進一步融合。 山水詩發展至盛唐王維，乃能擺落一切形跡，走向以至為含蓄精簡的筆法表現山水精神韻律的方向，創造中國山水詩中最富象徵性與蘊蓄性的「含蓄美典」，此一美典是以「意在言外」的含蓄之美為終極追求的。詩人在最簡約的尺幅中，一方面掌握物態物象在具體時空中獨具的丰采，使之鮮活具現於筆端，一方面創造一種境界，在此一境界中，詩人的情感性格得以寓託其中，並有效召喚讀者以其自身經驗參與其間，共同完成豐富多義的詩境創造。王維以其山水小品所展現的遺形取神之境，完成了中國山水詩中最富生機的創造。本文即以王維作為中國山水詩之集大成且又兼具開創性意義的典範，他所演示的山水美感形式一向被視為中國山水詩最具「神韻」的美感典型。

This doctoral dissertation aims to explore the establishment and development of the most important two types of aesthetics of Chinese landscape poetry: Hsieh Ling-yün’s aesthetics of ‘description’ and Wang Wei’s aesthetics of ‘implication’ and to access the process of transmission from aesthetics of description to the aesthetics of implication. The early landscape poetry before Hsieh Ling-yün’s were influenced by traditional rhapsody and Hsieh Ling-yün established the description of poetry itself. That means Hsieh Ling-yün created the aesthetics of description on the basis of the form of previous description and his own creativity. This aesthetics attempted to display the beauty of objects and to establish the well-regulated architectural natural space. Although Hsieh Ling-yün used the description to create the peak of Chinese landscape poetry, the landscape poetry was transformed by the followed poets. The description of landscape poetry did not always focus on the similarity of shapes but on the concern of lyrical self, or on admiration of the natural objects to display the interests and emotion on daily life, or on involving himself in the nature by expressing emotions, and then merged himself in natures. The development of landscape poetry in the high T’ang escaped from the traditional description/action and then reached the spirit of Chinese landscape by using implicit and simple brushworks. Wang Wei created the ‘aesthetics of implication’ which was the most significant and implicit form in Chinese landscape poetry. This form of aesthetics was the ultimate objective for those who were interested in pursuing the beauty of implication. The poets grasped the characteristics of objects and created another frontier. The poets expressed their emotions and feelings in this frontier and called the readers to experience themselves participating in the frontier and finally completed and created meaningful intention. Wang Wei used his own created landscape small pieces to display the descriptions of landscape and finally to accomplish the most vital creations in Chinese landscape poetry. This doctoral dissertation focuses on Wang Wei as a paradigm that his poetry was representing a generalization of Chinese landscape poetry and his works had the creative meanings. Wang Wei’s landscape poetry were seen as the most representative and significant poetry with the aesthetics of implication.