論司空圖《詩品．含蓄》之留白與蓄養

A study On the Space and Cultivation of Si Kongtu's ＂Implied Poetry＂

曾秀鳳(Tseng, Hsiu-Feng)

《明道學術論壇》 11卷2期&12卷1期 (2020/06) Pp. 45-52

摘要

本研究以司空圖含蓄品文本作為起點，淺談《二十四詩品》創作之時空背景，後逐句探究其文句意涵，再討論創作者本身蓄養與讀者兩者之間的詮釋留白空間：最後延伸討論二十四詩品含蓄品之運用，包含在傳統書畫裡如何被呈現；以及司空圖詩品跳脫道家之道，對應到自然生態之道，如何被解釋等。綜言之，含蓄品之高超妙逸，不論為文作詩，甚至觀照宇宙萬物之一切時，終究不脫含蓄之「不著一字，盡得風流」的留白與蓄養那生息不輟之道。

關鍵字

司空圖 ； 詩品 ； 含蓄 ； 留白 ； 蓄養

並列摘要

This study uses Sikongtu's ＂Implied Poetry＂(含蓄品) text as a starting point, and discusses the time and space background of the creation of Sikongtu's Twenty-Four Poems. Then explores the meaning of the ＂Implied Poetry＂ sentence by sentence, and then discuss the thinking space between the creator and the reader. Finally, it discusses the use of the ＂Implied Poetry＂ of the twenty-four poems, including how to present them in traditional calligraphy and painting; And how people using Sikongtu's ＂Implied Poetry＂ escaped the Tao from Taoism (道家之道), corresponded to natural ecology, and how to interpret them. To sum up, the superb subtlety of ＂Implied Poetry＂, whether it is writing poetry, or even looking at everything in the universe, after all, do not leave the implicit ＂no word, make the most of＂ (不著一字，盡得風流) the blank and nurture the incessant way.

並列關鍵字

Sikongtu ； Poetry ； Implied ； thinking space nurture