「山水」是怎麼發現的－「玄化山水」析論

How was "Shan-Shui" Found?: The Analysis of "Xuan-ized Shan-Shui"

10.6281/NTUCL.2009.30.06

楊儒賓(Ru-Bin Yang)

山水 ； 玄化 ； 自然 ； 脱情 ； 藝術工夫論 ； 形氣神身體觀 ； 宗炳 ； Shan-Shui ； Xuan-izcd ； Naturc ； Cultivation of Art ； Zong Bing

臺大中文學報

30期（2009 / 06 / 01）

209 - 254

繁體中文

「山水」是六朝詩歌的重要主題，本文認爲六朝「山水」詩歌的形成乃是六朝整體「山水」論述中的一環，這種論述涵蓋詩歌、繪畫、散文，又與玄學的論辯相關，其形成期大約在東晉永和到劉宋元嘉的百年間，筆者稱此爲玄化的山水觀，蘭亭詩、謝靈運詩、宗炳的〈山水晝序〉可爲此類型的山水之代表。「玄化山水」之「玄」除意指與玄學的關係外，更重要的是意指一種虛靈而化的山水，此虛靈而化可名爲「玄」。「玄化山水」既反映了氣化思想在自然觀上的展現，同時也預設了觀者主體也要有「玄化」，實即「遊乎一氣」的態度。以玄化主體遊乎玄化之境，自然本身剎那間新新不已，因此，有不斷湧現出的美感形式，這是一種藝術之「理」的誕生。玄化的主客兩面乃存在之實相，日常的狀態中所以無法呈現，乃因諸情作祟使然，所以玄化的山水觀要建立在一種「脫情」的主體之玄覽上面，此時即有藝術的工夫論可言。玄化山水觀在晉宋間建立起來後，它變成爾後中國山水畫與山水詩一個很重要的模型，可視爲一種建立在形－氣－神身體觀與氣化的世界觀上之理想類型。

”Shan-Shui” (Moutain-Water) was an important poetry motif in the Six dynasties. This article supposes the genesis of ”Shan-Shui” poetry was a part of the whole ”Shan-Shui” discourse, which included poetry, paintings and proses and was related to ”Xuan-Xue.” I term this discourse as ”Xuan-ized Shan-Shui,” which could be represented by Lan-ting poem, Xie Ling-yun's verses, and Zong Bing's ”Preface of Shan-Shui Painting.” The word ”Xuan” not only indicates Xuan-Xue, but also refers to the spiritual and atmospheric Shan-Shui. ”Xuan-ized Shan-Shui” reflects the influence of the idea of Qi on the concept of nature, and presupposes the subject must be ”Xuan-ized,” too. In order to carry out the reality of Xuan, the subject has to eliminate his/her sentiments this approach could be seen as a cultivation of art. After ”Xuan-ized Shan-Shui” was established, it became a significant model of Chinese Shan-Shui painting and Shan-Shui poetry, and could be regarded as an ideal type based on the body thinking of Xing-Qi-Shen and the world outlook of Qi.

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