從「氣感遷化」到「興會體物」—論六朝詩歌中知覺觀感之轉移

Abstract

本論文從知覺與身體感的角度，研究六朝詩歌中觀感模式的轉移，以「氣感遷化」一詞涵蓋魏晉以前的觀感模式，以「興會體物」描述南朝時代的觀感傾向，而晉宋之際，則是兩種觀感交匯的時代。 魏晉時期「氣感遷化」的觀感模式包含了兩個來源，一個是先秦時代樂教共感的人倫世界，在氣感類應方面產生影響；秦、漢之後又在原先的氣感世界中注入了「遷化」的時間感。受此觀感模式影響，魏晉詩人的情感語態強烈鮮明，自我形象突出。詩人發抒感物之情，多援引先秦以來積累形成的類應意象和關係網絡，呈現出對於對話交流、知音體驗的重視，並對節候遷逝、時光推移特別敏感。從知覺來看，以聲音的聽覺體驗最為突出，其次是觸覺，蓋聽覺與先秦時代樂教精神密切相關，而節候遷化之浸染力則透過觸覺而更為鮮明，而其他知覺也都表現出與類應情感的密切聯繫。在題材方面，贈答詩、詠懷詩最能代表此種觀感體驗，贈答詩主要承繼氣感中人倫交流的一面，也受遷化世界影響；而詠懷詩主要受時光遷逝所觸引之感物悲情影響，也隱含著對話交流的共感企求。 「氣感遷化」的觀感模式隨著時代、政治、思想與社會的變遷而逐漸失去影響力，原先成為伏流的「興會體物」身體感逐漸蔚成主流。在晉、宋之際，隨著玄學思潮的衝擊，玄言詩以新的眼光流連世界，登臨體驗擴大眺望遠覽的視域、山水詩模山範水的新體驗，以及吳歌、西曲清新的言情口吻，和佛教對南朝的影響，「興會體物」的觀感體驗遂在齊、梁時代蔚成主流。在詩歌中以詠物、宮體詩為代表。詠物詩聚焦在生活世界中的各種物態姿貌，宮體詩則以女性為歌詠對象，兩者皆用巧似密附的鋪陳手法捕捉其光、影、色澤以及視、聲、味、香嗅、觸之豐富變化，而以視覺體驗的突出為標誌，觀感主體拉開體物距離，展現出新的視角、新的體物眼光、開發新的語詞和構句方式，打破了「氣感遷化」時代情感與世界緊密的類應聯繫。詩人的情感語態較為隱藏含蓄，自我形象較不鮮明。而在詩歌形式上，「氣感遷化」時代自然抒懷的口吻讓詩歌隨其辭氣之所發而形成長短不一的篇幅，不講究造語和人為聲律的安排。而發展到「興會體物」的時代，創作自覺的身體感表現在字句、意象、聲韻的錯綜變化，以此形成偶對的身體感，且在篇幅上更為固定。並打破「氣感遷化」時代二句一類對應上的同類關係，以跨類的方式打開了新的觀感體驗，更要求讀者閱讀上的參與。而這種觀感模式的轉移並非截然可分，「氣感遷化」的影響依然保留在南朝之後的體物活動中，而「興會體物」的視角，在南朝之前也可以找到發展雛型。 此種觀感模式的轉移也表現在文學批評觀念的發展，《禮記•樂記》中的音樂觀，顯現出「氣感」類應所重視的群體共感的一面；〈詩大序〉承繼〈樂記〉的影響時，更重視「詩」獨立於「樂」的價值，在理論上與「詩緣情」之觀點有潛在的聯繫。嵇康〈聲無哀樂論〉則顯現出兩種觀感的影響。而最能代表「興會體物」的批評觀點是《文心雕龍》、《詩品》中的「巧構形似」，其價值在於呈現了晉、宋以來詩歌朝向「體物」、「寫物」發展的趨向。而唐代之後，則同時受此兩種觀感體驗的影響，成為以「興會體物」的體物眼光與「氣感遷化」感物興情之情景交融的觀感特色。而在唐代的文學批評中，也同樣迴盪著兩種不同的傾向。唐以後，此兩種觀感模式融入傳統中國文化中，成為影響深遠的觀感體驗。

From the perspective of perception and body experience, the thesis investigates the shifting of perceptual experience in the Poetry of the Six Dynasties Eras. The term “affected by the World and Time by ways of Qi ”（qi gan qian hua,氣感遷化）is used to explain the perceptual pattern of Wei-Jin Eras and before, and the term” depiction of the World’s external appearances”（xing hui ti wu,興會體物）to used to describe the depiction trend of Southern Dynasties Eras. Between the two periods, the Jin-Liu Sung Eras are affected by both. Qi gan qian hua was affected by two kinds of experiences ,one was the “musical education”（yue jiao,樂教）under the combined heaven and organic universe in the pre-Qin period, another was the feeling of the march of time which enlarged the experience of the organic universe after the period of Qin-Han Dynasties. Affected by the qi gan qian hua, the lyric tone of poets was so intense that their self-images were very obvious. By means of the adoption of the co-share-images, which were accumulated with ages, poets express their emotions. The most distinctive perception is the auditory experience, and then tactile, the former is closely related to the spirit of the music education, the later related with the march of time, and other perception also deeply combined with the organic universe. In the pattern of experiences, the representative topics were the Presentation and Reply Poetry, and Poems of My Cares, the former were primarily affected by the spirit of the music education and secondarily by the march of time , and the later was opposite. The underground stream of xing hui ti wu became more active with the change of time and of Dynasties, of society and ideological trend, Qi gan qian hua gradually lost it’s influence on the poets. Between the Jin and Liu Sung Eras, xing hui ti wu gradually emerged as followed those phenomenon: the trend of Dark-learning philosophy and the new vision of Metaphysical poetry, the widened horizon of the ascended experiences, the new body experience of Chinese Landscape Poetry, the natural field of vision of folk song form wu ge吳歌 and xi qu西曲, and the cultural impact from Buddhism thought. The representative topics of genres were Chanting object poem and Palace-style Poetry, the former focus on the various kinds of natural appearance about true texture of the visual profile, auditory diversification, tactile impression, the sense of smell, and the taste feelings, the later depict women’s daily life. The distinctive perception of those two kinds of poetry is visual experience. The distance of perceptive experience between the poets and world has expand and open out a new creative space causing that the depiction could be exerted by the poets. The inseparable connection of the combined heaven and organic universe of the period of qi gan qian hua was destroyed in xing hui ti wu. Therefore bringing out very kinds of variety ways of observing the world, and the usage of rhetoric method and new combination of images, structure of sentences of poet’s ingenuity were significantly developed. In the period of xing hui ti wu, the natural tone and different length on the poetry of qi gan qian hua gradually changed to the arrangements and emphases of artificial production on the aspects of words and language rhythm. The number of sentences in one poem was more fixed and the correspondence that the connection between two sentences forms two kinds of body experience was so extended and enlarged as to require the participation of the reader. The shifting of perceptual experience between qi gan qian hua and xing hui ti wu is gradually formed as the change of world and body experience. Before the Southern Dynasties Eras, the source of xing hui ti wu was latent, and in the period of Southern Dynasties, the influence of qi gan qian hua still could be observed. In the field of criticism, the shifting also appeared. The Musical point of view and the feelings of co-existence of community in the Yue ji樂記 could be related to the qi gan qian hua. In the “Greater Preface” to the Book of Songs, the value of poetry was emphasized more than the Yue ji, and this concept had potential relationship with the shi yuan qing詩緣情. Xi Kang嵇康's shengwu aile lun聲無哀樂論was both affected by those two perceptual experience. The critical term “ch'iao kou ssing ssu”巧構形似nearly represented the essence of xing hui ti wu in Wen Xin Diau Lung文心雕龍and Shi Pin詩品.After Tang Dynasty, those two perceptual experiences mingle together and also manifest in the field of Literary Criticism., subsequently integrate into the Chinese Culture and have far-reaching influence on the poet’s concept and thought in the perceptual relationship between people and the world.