魏晉遊宴詩的身體感與空間感

近年來，學界中持以抒情傳統視野而進行的魏晉詩歌研究固然已蔚為主流之一，大多以側重心、神層面的抒情表現居多，因此本文提出在時間詮釋脈絡中強調內在、主觀的主體建構之餘，企圖以空間詮釋脈絡作為抒情建構的又一重要觀察面向來考察魏晉遊宴詩，以發掘魏晉遊宴詩所展現的文學特性與文化傳遞，以及其在特定語境下的多重意義。本文第二章以探討中國文學傳統中的身體感與空間感為主，嘗試為遊宴詩的研究範疇建構一個視野更為豐富的參照點，包括考察先秦踐形與養生為主的身體工夫轉化至魏晉品人風尚中一自覺性的品藻身體；莊子的遊觀意識轉化至魏晉詩歌感物興情的美學意蘊；從歎逝、不朽、立言、知音等時空相互含攝的命題中考察出「傷時」與「感物」是魏晉詩歌中抒情自我的情懷根源。接著本文回歸到魏晉遊宴空間的身體場域之中，不論是人與人之間的才性品遊或人與自然之間的觀照與冥想，主要從「身體感」與「空間感」切入遊宴主體的自我經驗，分別以建安遊宴詩的「品藻身體」、東晉中期蘭亭雅集的「俯仰玄遊」，以及晉末慧遠僧團廬山石門之遊的「佛法觀想」作為第三至第五章的探討主題，首先是因為這三次文學遊宴個案中的觀物態度皆對於中國抒情詩歌的空間審美有了新的發現。建安遊宴詩是最早與自然的最直接相遇，初步展現季節物候與文人交會的身體感，其關注點在於主客之間知遇賞愛的政治倫理生命的抒情向度，體現在詩中「饑－飽」、「飛－棲」的政治身體與感興模式；蘭亭之遊，以「即物覽無」的審美心境，在山水之中發現「造化日新」即「無」的體道能量，使山水成為表現主體、玄言的導體；石門之遊，慧遠僧團「離色而空」的觀物態度使法性山水具有照見「性空」之理的觀想能量，成為證悟生命終極實相的一種新「思維」，也是一種觀看、理解世界的新方式。其次，遊宴詩中空間的審美化、意境化，可以窺見魏晉個體生命自覺與藝術思維蓬勃發展的文學輪廓。由建安遊宴詩以人為主的觸物興情，到蘭亭詩、遊石門詩皆以自然為主的感物興理，呈現出由「體物寫物」到「體物說理」再到「景理圓融」的詩境嬗變，使詩歌的意境審美由質實走向空靈，也使東晉玄言詩說理的「淡乎寡味」走向了審美化、意境化，可看出整個魏晉個體生命自覺和自我意識的覺醒，以及文學自覺化的進程，特別是作為南朝山水詩、狀物詩風以及唐代空靈詩境的先導。總的來說，本文試圖通過對中國抒情傳統論述的對話與反思、持多元視角考察，並輔以文化概念的參照，力圖取得實質性的突破，最終目標便是嘗試為遊宴詩的研究範疇建構一個視野更為豐富的參照點。

關鍵字

魏晉；遊宴詩；身體感；空間感；建安公讌詩；蘭亭詩；石門詩

並列摘要

In recent years, using the lens of Lyrical Tradition in the study of Wei-Jin poetry has emerged to be one of the mainstream perspectives in the academic world. This form of studies places' significant emphasis on the emotional and spiritual aspects of lyrical expression. This study, nevertheless, proposes using a spatial construct as a key instrument in the inspection of Wei-Jin Touring Feast Poetry. It seeks to uncover the literary characteristics of Wei-Jin Poetry, its role in cultural transmission as well as its multiple meanings under the specific context. Chapter Two of this study focuses on the discussion of the perception of Body and Space in the tradition of Chinese literature. It attempts to establish a more enriching point of reference for the study of Touring Feast Poetry. This includes the inspections as to how the Pre-Qin concepts of health preservation morphed into how the literati of the Wei-Jin Period perceived the physical Self as part of their characters; Chuang Tzu's ideas about roaming freely and how it affected the aesthetical appreciation of objects and emotions in the Wei-Jin poetry; as well as to find the "melancholy over the passing of time" and "attributing emotions to objects" as the source of expressing self-emotion in the themes of overlapping of time and space such as the sigh over death, immortality, achievement of glory through writing and bosom friends. Subsequently, this study returns to the physical domain of the Wei-Jin Touring Feast Poetry. It is mainly on "the perceptions of body and space" and the subjective experience of the feast participants, either an appraisal of talents and characteristics between individuals or inner meditations about Nature. The main topics of discussions from Chapter 3 to Chapter 5 are respectively on the Touring Feast Poetry's Character Evaluation Embodiment during Jian-an Period; the Perception of Xuan-ized Tour in the Lan Pavilion's Assembly during the Mid-Eastern Jin Period; the Buddhist Visualization Practice in the Lushan Shimen's Touring Feast of Huiyuan monk group in the end of the Eastern Jin Period. The first reason of choosing these three literary touring feasts as case studies are due the fact that all of them have discovered a new aesthetic space for Chinese lyric poetries. The Jian-an Touring Feast was the earliest in establishing the most direct link with Nature. It displayed the early stages of the physiological effects of interaction between seasons and the literati. The key concern of the Jian-an Touring Feast is the lyrical dimension between the host and the guests in their discussions about political ethics to display the political embodiment and perception mode of "hunger or fullness" and "flying or resting." Meanwhile, the Lan Pavilion's Assembly, uses the aesthetic mood of "understanding the natural view of Daoism through the perception of nature" to find the body energy of "nothingness" in the scenery with hills and waters, so that the hills and waters can be a conductor in performing the main body and metaphysics of Daoism. In the Tour of the Shimen, the "Everything Visible is Non-Being" attitude of Huiyuan monk group in observing things around, has allowed them to have the visualization power of "the View of Non-Being". It has ultimately become a new "thought" in realizing the reality of life. It is also a new way to observe and understand the world. Secondly, from the spatial aesthetic appreciation and conceptualization of the space in the touring feast poems, we can have a glimpse as to how individual self-realization and the robust artistic thought movement were taking place in the literature during the Wei-Jin Period. The Jian An Touring Feast is a people-oriented poetry which has a touch with things and relationship while the Lan Pavilion's Assembly and the Tour of the Stone Gate have a touch with things mainly with nature. All of them have reflected the changes in the realm of poetry from "the scenery describing form" to "the scenery and philosophical describing form" and then to "the blending of scenery and philosophical describing form." The artistic state of poetry has also moved from simplicity and honesty to intangibility and caused the "tastelessness" in the Metaphysic Poetry in Eastern Jin Period to go toward aesthetic appreciation and artistic conceptualization. We can also see the awakening of individual life and self-awareness as well as the awakening process in literature in Wei-Jin poetry. Especially, it has become a prelude to the Southern Dynasties' scenery poetic style and description of things poetry style, as well as the Tang Dynasty' poetry of emptiness. In conclusion, through the dialogues and introspection of the traditional discourse in China's lyrical poetry, this study seeks to make a substantive breakthrough by holding multidimensional perspectives and using cultural conceptions as a reference. The ultimate goal is to establish a richer point of reference for the studies of Touring Feast Poetry.