火焰之歌：試論《花間集》中的燈燭書寫

本文以燈燭的文化底藴爲背景，解析《花間集》中的燈燭書寫。首先梳理並探索先秦至唐五代的燈燭發展，從火炬到蜜燭，從食器到油燈，日益繁複奇巧，不僅爲照明器物，亦是娛樂珍玩、身分表徵；而火尤其是燈燭靈魂，既是照明功能所在，更具靈幻美感及引人遐思的特質，成爲意藴深邃的象徵。以燈燭的認知背景解讀《花間》詞，詞中燈燭在場的場景得以重現，紅燭熒煌、蘭膏香暖之外，透窗而出的搖曳燈影，屏幃之中的蠟淚殘光皆常見景象；火焰則爲詞中亮點，既映照多變的情感空間、無常的人間風景，也映照自然的塵外之境，透過其象徵內藴的投射，雲雨風月的情感自有純淨境界，飄轉如風燭的生命流程也深藏內在追尋，而信仰遺落的年代則呈現光暗和解的希望。

關鍵字

花間集；詞；燈燭；火；物質文化

並列摘要

Based on the cultural implication of candles and lamps, this article aims to analyze the writing of these objects in Huajian ji (The Collection among the Flowers). The discussion begins with a historical survey of the development of lamps and candles from the pre-Qin to the Tang and Five Dynasties times. From torches to candles, from food vessels to oil lamps, they assumed complexities, subtlety, and ingenuity. They were not only lighting tools, but also symbols of various identities. Flame, as the soul of lamps and candles, is especially fraught with spiritual beauty and fascinating characteristics, and thus carries profound, symbolic meanings. Reading the Huajian ji from the perspective of the cognitive backgrounds of lamps and candles shall help revitalize the scenes with the presence of lanterns and candles in those ci-poems. One often sees, for example, red candles shining brightly surrounded by heat and fragrance from scented wax, shadows of lanterns flickering through window screens, and burning candles with dripping wax behind folding screens. The flame is the highlight of these works. It reflects the changing emotional space and ambience, the uncertainties of the mortal world, and the realm behind the dusty world. Therefore, from the perspective of these ci poems and the symbolic meaning of candles and lamps, the relationship between light and darkness during the dark age of the Five Dynasties is not absolute nor antagonistic, but instead harbors a hope for acceptance and reconciliation.