“觀看自我”的藝術－試論魏晉時人“身體思維”的釋放與轉向

本文嘗試以「身體」與「觀看」眼光的轉移為進路，考察魏晉「身體思維」的轉向與釋放，並揭示由魏晉「身體自覺」所進一步展衍的藝術體現。總觀來說，魏晉之前的「身體共識」，是一種拼圖式的理解，在不斷地拼湊與打散的過程中，成就「他者」眼光下的「身體」符碼。進入魏晉之後，「身體思維」開始產生轉向。自覺地、主動地「觀看」身體的方式，形成魏晉時人「觀看自我」的獨特態度，認同「我」的外在形軀之存在是一種自然、健康的形態。時人選擇以「嚴妝華服」、「換裝」的方式來呈現不斷顛覆與解構的「逆向」自我認同精神。因此，魏晉「觀看」身體的眼光從一外在的形飾之美，流轉契入「自我」一點靈明的覺醒，「身體」成為調適上遂於「自然」的根據，這樣的「身體」是開放的、並與宇宙天地相呼應的。魏晉「身體思維」的轉向，亦使得阮籍等開始使用「身體語言」，如：「嘯」、「青白眼」、「箕踞」等來取代日用語言以表達自我觀感及情緒。同時，因為對「自我」的覺知，乃進一步把「我」置入生活世界中思考「我」的價值，這是一種將「我」昇華為審美客體的玄智，亦是「我思」與「思我」雙重兼容的藝術體現。加上魏晉時已經打破傳統的審美眼光，開啟了更多元、自由的品賞活動，相對使得「頹放」與「癡行」皆入於「美」的品賞行列，形成一種破壞後重建的審美型態。

關鍵字

身體；觀看；身體思維；身體語言；自我認同

並列摘要

This article attempts to start with the transactions of ”Body” and ”Observation,” and then explores the transitions and release of the ”Body Thinking” concepts and the artistic practice of ”Body Conscious” in the Wei and Jin Dynasties. Generally speaking, the concept of ”body consensus” before the Wei and Jin Dynasties was a kind of jigsaw understanding derived from the ”body” codes of gazing the ”other” in the process of piecing together and breaking up. In the Wei and Jin Dynasties, ”body thinking” concept had a change that the appearance of ”self” was admitted as a nature and healthy status with the attitude of observing body consciously and actively. Philosophers used the concepts, such as ”Yan Zhuang Hua FU”(嚴妝華服) and ”Huan Zhuang”(換裝), to explain an undermined and destructive adverse self-identity. Therefore, the point of observing body had converted into the consciousness of self from the observation of others, and ”body” converted into a natural creation that would be harmonized with the Universe. The transitions of ”body thinking” in Wei and Jin Dynasties also enable philosophers, like Ruan-Ji(阮籍), to replace regular word expressions with some ”body words,” such as ”Xiao,”(嘯) ”Qing Bai Yan,”(青白眼) ”Ji Ju,”(箕踞) and etc. Meanwhile, due to the consciousness of self, they also injected the idea of ”self” into real world and reflected the value of ”self,” which was a kind of wisdom that could upgrade ”self” to objective appreciation of beauty, as well as the artistic practice in both ideas of ”I think” and ”Think I.” Furthermore, since traditional appreciation of beauty had been broken and there were more diverse and free choices of appreciative activities, ”Tui Fang”(頹放) and ”Chi Xing”(癡行) had finally been classified into the essential factors of appreciative activities and became a re-structure type of beauty appreciation after a series of destructive process.