論王昌齡《詩格》的三境─對中國學界兩大詮釋取向的檢討

「意境」一詞最早見於唐代王昌齡的《詩格》，和「情境」、「物境」合為三境。由於原始文獻的解說文字簡約，中國學術界從八○年代以來對三境的理解眾說紛紜，大致可分為「類型取向」和「層次取向」兩大詮釋取向，至今尚無定論。高友工建構中國文化中的抒情傳統時，所提出的美感經驗理論和三境的創作歷程不謀而合，因此本文借用高友工的理論框架對中國學界的兩大詮釋取向提出檢討與修正。本文確立了三境實為不可分割之整體，處於同一範圍之內，因此「類型取向」的各種說法皆無法成立，而情境和意境的運作是為了在物境中達到境象的和諧統一，因此「層次取向」應該修正為相反的次序，「物境」才是最高的品第，「形似」則是創作的最高要求。

關鍵字

王昌齡；詩格；三境；意境

並列摘要

A word of ＂Conception＂ (I Jing 意境) stem from Wang Chang-Ling's (王昌齡) ＂poetic rules＂ (Shi Ge 詩格), which with ＂Situation＂ (情境) and ＂Thing-situation＂ (物境) are combined into ＂three situational spheres＂ (San Jing 三境) in Tang Dynasty. Due to original words too shortly and hard to explain from the ancient literatures, the 1980s Chinese academic have different views to demonstrate ＂three situational spheres＂. It is unclear conclusion but ＂Three situational spheres＂ split into ＂Category-oriented＂ (類型取向) and ＂Phase-oriented＂ (層次取向) in general. Gao Yu-Gong (高友工) build lyric tradition in Chinese culture and propose aesthetic experience and ＂Three situational spheres＂ have the same creative histories. This article takes Gao's theory framework to review and examine into ＂Category-oriented＂ and ＂Phase-oriented＂ steps. Our conclusion confirm that ＂Three situational spheres＂ is hard to split, they are all in the same field, therefore, ＂Category-oriented＂ theory hard to establish at all. The operation with ＂Situation＂ and ＂Conception＂ purpose to obtain ＂Image phase＂ (境象) in ＂Thing-situation＂ (物境) environment. ＂Phase-oriented＂ should be modified into contrary order. Only ＂Thing-situation＂ has the highest order, ＂similarity ＂ (形似) is the highest demand for creative work.

並列關鍵字

Wang Chang-Ling ；＂poetic rules＂； three situational spheres ； conception

參考文獻

張修蓉：〈王昌齡之詩格〉，《中華學苑》第 20 期（1977 年），頁 93-106。【Zhang, Xiu-rong.“Wang Chang Ling’s Poetic Rules”,Academic Journal of Bulletin of the Department of Chinese literature,20,1977 ,pp.93-106.】

陳劭為：〈王昌齡「意興說」之作品存在觀及對詩教的接受及轉化〉，《先秦兩漢學術》第 9 期（2008 年），頁 119-155。【Chen, Shao-wei. “ Wang Changling "I-Xing" Conception Exist and Acceptance nd Transformation of the Poetry Education”, Academic Journal of Qin and Han,9 ,2008 ,pp.119-155.】

陳國球：〈從律詩美典到中國文化史的抒情傳統——高友工「抒情美典論」初探〉，《政大中文學報》第 10 期（2008 年），頁 53-90。【Chen, Guo-qiu. “ From the "Aesthetics of Regulated Verse" to the"Lyrical Tradition": A Study of Kao Yu-kung's Conception of Chinese Lyricism ”,Academic Journal of National of Chengchi University,10, 2008, pp.53-90. 】

廖蔚卿：〈從文學現象與文學思想的關係談六朝「巧構形似之言」的詩（上）〉，《中外文學》第 3 卷第 7 期（1974 年），頁 20-34。【Liao, Wei-qing. “From the relationship between literary phenomena and literary thought to discuss Qiao Gou Xing Si Zhi Yan in Six Dynasty I ”,Chung Wai Literary Quarterly,3:7, 1974 ,pp.20-34.】

廖蔚卿：〈從文學現象與文學思想的關係談六朝「巧構形似之言」的詩（下）〉，《中外文學》第 3 卷第 8 期（1975 年），頁 190-205。【Liao, Wei-qing. “From the relationship between literary phenomena and literary thought to discuss Qiao Gou Xing Si Zhi Yan in Six Dynasty II ”,Chung Wai Literary Quarterly,3:8, 1975 ,pp.190-205.】

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論王昌齡《詩格》的三境─對中國學界兩大詮釋取向的檢討

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