詠物明志－論“賞玩文學”的源流與意涵

曾經，載於國家典藏或檔案冊錄中，作為檔案庫藏這些滿載時光歷史印記的「物」，在唐代以後，漸漸走入文人書房。收藏、品玩、鑑賞，成為文人建構超脫俗世的憑藉物，並依此建立起飽含文人內涵的情境。這從「視覺物品」漸次豐富，成為「文化內涵」的物；尤其自明代文人畫及戀物開始，收藏賞玩「物」的流行，背後意義為何？「詠物」本是中國文學中早被確認的文類(genre)，如詩詞中大量被吟詠或描述文物的文章，皆與視覺文物有極大關係，它牽涉到文物本身的意義、「物」的視覺文化涵義；到了文人筆下，藉物抒情，從「載物」到「詠物」，從記錄到文學，它的書寫意義何在？尤其是，這類以「賞玩」為主題的書寫，不只在賞玩文化流行的明清兩代出現，現代文學大家，從周作人、魯迅，到沈從文、汪曾祺，到當代的張錯，以文學「賞玩」、「詠物」，成為他們神遊古今，隱遁於渾囂塵世最好的寄託所在，「賞玩文學」作為接續詠物傳統的現代書寫方式，其意涵為何？

關鍵字

物；詠物；視覺文化；消費文化；賞玩文學

並列摘要

The ”objects” once collected and recorded in the national archives as historical imprints of times started to be collected, tasted, and appreciated by literati and became their reliance for constructing a detached world in their literary creations and their contexts of literary insights after the Tang Dynasty. What are meanings behind the transformation of objects from ”visual objects” to the more enriched ”cultural insights”, especially in the beginning of portrait and fetishism in the Ming Dynasty when the fad of admiration of ”objects” started? ”Object-appreciation” is originally the earliest identified genre in Chinese literature, for example, articles with large amount of object-chanting or descriptive objects are closely related to visual literary objects, which involve the meanings of object themselves and the visual cultural insights of ”objects”. What are the written meanings of objects in the works of literati from the ”object-recording” to ”object-appreciating” and from the recording to literature? In particular, the writings of subject of ”admiration of object” not only showed up in the culture of admiration in Ming and Qing Dynasties, but can also be found in the works of modern literary writers like Zhou Zuo-ren, Lu Xun, Shen Cong-wen, Wang Ceng-qi, and Zhang Cuo. The ”admiration of object” and ”Object-appreciation” became their way to express their ideas of sequestering themselves from the world. What are the meanings of using ”admiration of literature” as writing methods in modern writings for continuing the object-appreciation tradition?