韓愈詩中風景書寫的特色析論

日本學者小川環樹曾梳理中國文學中「風景」一詞的語義流變，指出是詞於中唐前基本是「風光、光色」（light and atmosphere）意，中唐後才漸變為今人的「風景」（view and scenery）意；而關聯的「情」與「景」的關係，也由對立分野，走向「情景交融」作為美學典範，並成為詩論家們長久討論的重點。此論點出中唐及「風景書寫」，於中國文學研究的重要性。本文以韓愈的個案研究為樣例，探究中唐詩中風景書寫的承變及於宋調的開先。在對韓詩中的「景」字語彙的語意進行全數分析後，本文認為，韓詩於寫景的開拓，主要不在「風景」一詞含義的迭代生新上，而在其感知風景的觀念與心態、及書寫風景的筆法上。在觀景之心上，韓詩顯出「樂」與「憂」兩面，前者指向「悲哀的揚棄」與「自娛之意趣」，後者指向「儒者的責任意識」。在寫景之藝上，韓詩不僅追求「意新語工」，更突破了傳統抒情詩寫景的窠臼，加入「敘事」「賦筆」及「議論」，且於「敘事」的開掘最為突出。蘊藉其中的，是韓愈的一種理性意識，觀照事物時把握物理天道、覺察自我情緒、且以諸多方式積極轉化物色之悲，並將儒者之心昇華至「道」的境界；同時，「敘事性」也體現出對事物過程之前後發展順序、因果邏輯關係等的理性體認。

關鍵字

韓愈；風景書寫；敘事性；理性意識

並列摘要

From the perspective of conceptual history, Japanese scholar Ogawa Tamaki once combed the semantic evolution of the word "Landscape" in Chinese literature, pointing out that the word "Landscape" originally meant "Light and atmosphere" before the Middle Tang Dynasty, only after then did it gradually shifted its meaning to "View and Scenery" which was the same in the modern context. The relationship between the "Feelings" and "Scenery" also changed from two isolated elements to the "Feelings and Scenery Blending" (qing jing jiao rong) as an aesthetic model, and became the focus of a long-standing discussion among poetry critics. Ogawa's view points out the importance of Middle Tang Dynasty and landscape writing in the study of traditional Chinese literature. Therefore, this paper takes Han Yu's case study as an example, to explore the changes in landscape writing in mid-tang poetry and see how he ignited the beginning of Song poems. After a full analysis of the semantics of the word "Jing" in Han Yu's poems, this paper believes that Han's contribution to landscape writing was not in the semantic update of the word "Jing"(scenery), but in his concept and mentality of perceiving landscape (how to see), and the art of writing landscapes (how to write). In the first facet, Han showed two sides of "Joy" and "Worry". The former contained the "Sublation of Sorrow" and the "Interest of Self-Entertainment", while the latter was relevant to the "Confucian Sense of Responsibility". In the second facet, Han not only pursued "Innovating Concept and Expression", but also broke through the conventions of traditional landscape writing which emphasized lyric, adding "Narrative", "Fubi" and "Argumentative", and the most prominent was "narrative". Contained in it was rational consciousness of Han Yu, grasping the natural law of physics, being aware of his own emotions, and in many ways actively transformed the sorrows brought by the outside world, elevating the Confucian heart to the realm of "Tao". At the same time, "Narrative" also reflected the rational understanding of the sequence and development process of things, and the logical relationship between cause and effect.