魏晉名士「裸袒褻慢」之風的多維解讀

檢視魏晉時期之史料文獻，時時出現「裸袒箕踞」、「土木形骸」之記載，尤其東晉之後，一些務實之士鑑於西晉之亡，在反省的聲浪中，對崇尚玄虛、不遵禮法之士，每口誅筆伐，揭舉其陋行，此奇言怪行之歪風，被指為亡國之徵。本文從易代之際，到八王之亂、王敦之亂、蘇峻之亂、孫恩之亂，士人為避禍遠害、保全身家，每以頹廢之行以「自晦」，如服食「寒食散」、縱酒荒恣；當藥、酒作用發散後，遂多誕行；又當時老莊自然思想流行，在回歸自我之訴求下惑溺於情，而喜賣弄情采、揮灑聲光，以顯一己之超卓；同時也嘲諷虛偽禮法，鄙夷權奸。且胡漢雜居，胡風流衍，仙道符籙房中之術暢行，更孳長歪風。而高門貴勢，壟斷政治經濟利益，生活侈靡，享樂宴佚，聲色犬馬，無所不用其極，在「適性逍遙」之思潮，漸入人心之際，普扇靡風。本文進而伸入玄意─「于有非有，于無非無」的觀點，從事功與浮華、禮教與自然、反社會或親社會、是非與美醜、高雅與庸俗、真與偽、文與質、群體與個人幾個面向，論述其價值之兩棲性。最後，從現代美學之論「荒誕」、論醜、論異及身體觀，以暢敘此令人耳目一新的驚俗駭世之舉，而賦予嚴肅而深刻的意涵，除用以折射魏晉之文化現象外，並檢討此「刻意」的肆欲之行，雖有「返本歸真」之意義，卻也難逃生命蒼白之譏，為扭曲時代之「荒樂」。

關鍵字

裸袒；箕踞；任誕；服食；胡風

並列摘要

When reviewing the historical data and literature of Wei-Jin Dynasties, we often found the record of ＂bareness＂ and ＂dishevelled appearance＂. After the Eastern Jin Dynasty, seeing the destruction of the Western Jin Dynasty, many pragmatic scholars attacked the scholars who admired the mysteries and violated the etiquette. The pragmatic scholars considered the vulgar behavior and the inappropriate speeches as the sign of the destruction of the dynasty. There are several reasons that lead to this culture. First, this paper considered the transition of dynasties, the Eight Kings' Insurrection, Wang Dun's Insurrection, Su Jun's Insurrection and Sun En's Insurrection. During this period, the scholars tended to act dispiritedly, such as taking the hallucinogenic drug and getting addicted to alcohols, to protect themselves. Second, the philosophy of nature from Lao-tzu and Zhuangzi was widespread at that time. Due to the influence of the philosophy of nature, the scholars liked to boast of their talent to show their excellence. Third, the Han people lived with the Hu people during this period, leading to a more serious social malady. Finally, the influential officials monopolized the politics and the economy, whose lifestyle of pleasure and leisure had also influenced the lifestyle of the society. This paper further extends to metaphysics, the concept of existence and nonexistence, etiquette and nature, right and wrong, beauty and ugliness, true and false, to discuss the value of both sides. Moreover, we also discuss the absurdity from the viewpoint of modern aesthetics. We consider that the absurdity in this period had some implications, which not only reflects the culture of the Wei-Jin Dynasties but also has the implication of returning to the innocence.