天驚地怪見落筆，巷語街談總入詩－潘天壽武夷山記遊詩研析

詩、書、畫是中國文人畫和諧統一不可分割的組合，自宋朝以來，大畫家往往兼而有之。潘天壽（1897-1971）兼擅詩、書、畫，可謂是二十世紀繼吳昌碩（1844-1927）之後成就極高的詩人畫家，但由於其繪畫享有至高隆譽，致使學界忽略對其詩歌作品的研究。〈癸未春節與東南聯合大學同仁江叔方、羅艮庵、于復先同遊武夷，諸暨張繼生極熟武夷掌故，邀為先導，歸後即成是篇，以當遊記〉（此詩本文簡稱為〈武夷山記遊〉）五言古詩寫於1943年，作者當時任教於福建省北部建陽縣的東南聯合大學。此詩為《潘天壽詩集注》中篇幅最長者，凡一百三十八句。全文乃就體式與結構、設色與修辭、承傳與創新三方面剖析之，以說明潘天壽詩歌的特色及價值。綜觀〈武夷山記遊〉詩之形式、內容與風格，一言以蔽之即是「奇」、「峭」二字。潘天壽在〈論畫絕句〉讚咏米芾（1051-1107）說：「文章奇險書奇古，信手拈來總可驚」，此適可做為〈武夷山記遊〉詩的總評。所謂「奇」，即別開蹊徑、出人意表；所謂「峭」，則指險拔頓挫、側鋒取勢，惟其「側鋒」是變化於堅實的「主鋒」基礎上。其「奇峭」是出入「規矩」，在「有法」與「無法」之間的揮灑自如，但總不逾越自然原則。「奇」與「峭」也是潘先生繪畫的兩大特色。

關鍵字

潘天壽詩歌；武夷山記遊詩；詩書畫三絕

並列摘要

Poetry, calligraphy and painting are essential and harmoniously combined components of Chinese literati painting. From the Song dynasty onwards, master painters were often accomplished in these three areas. Pan Tianshou (1897-1971) was a master in these fields, and coming after Wu Changshuo (1844-1927), was a highly accomplished poet-painter of the twentieth century. However, due to his eminent reputation in painting, studies on his poetry have been neglected.The poem entitled ”During the Spring Festival of the guimo year, I travelled in Mount Wuyi with my colleagues Jiang Shufang, Luo Gen'an and Yu Fuxian from Southeast United University. Zhang Jisheng from Zhuji was well-versed with historical anecdotes associated with the mountain, and we invited him to be our guide. Afterwards, I composed this piece to serve as a travelogue” was composed in ancient pentasyllabic style in 1943, when the author was teaching at Southeast United University in Jianyang District, in the northern part of Fujian Province. This poemis the longest in the ”Pan Tianshou shiji zhu” (Annotated Poetry Collection of Pan Tianshou), with a total of 138 lines. This article analyses the poem from the three areas of form and structure, descriptive colour and rhetoric, and indebtedness and innovation, to bring out the characteristics and value of Pan's poetry.The form, content and style of the long poem can be summarized with the two words ”qi” (extraordinary) and ”qiao” (precipitous and indirect). Pan Tianshou, in his ”Quatrains on painting”, praised Mi Fu (1051-1107) in the lines ”His writings are extraordinary and precipitous, his calligraphy extraordinary and ancient; he casually comes up with these, and they are always astonishing”, and this aptly sums up Pan's poem. ”Qi” refers to breaking new paths and something beyond expectations, and ”qiao” refers to something precipitous, with modulation, and taking an indirect approach in composition. However, this indirect approach comes from transformations of a solid direct approach. Pan's ”qi” and ”qiao” follow and depart from rules. He wields his brush confidently between rules and the absence of rules, and yet never goes beyond natural principles. ”Qi” and ”qiao” are also the two main characteristics of Pan Tianshou's painting.