唐代園林的風景詩學研究

本文以唐代園林詩歌為研究對象，探討唐人於園林中的風景體驗（experience），即從體驗之視角探究唐人書寫園林風景的意義。本文將詩歌作品中的風景描寫界定為詩人處身在大自然中的動態式體驗，是詩人的身體主體與自然世界相互交織蘊含之下的產物，而詩歌文字則是詩人身體存有經驗的體現。在風景體驗中，知覺扮演著首要性的作用，詩人感知方式的差異，決定了風景體驗的差別，而「習慣身體」對於風景經驗的呈現同樣具有重要的影響，不同詩人於過往所習得的文化與個人生命歷程差異則積澱於「習慣身體」之中，並影響著其身體於當下感知風景時的差異，決定了他們所經驗到的風景各自有別。再者，詩人所身處的場所亦影響著詩人的風景體驗，不同的場所可以帶出身體與環境相互交織之下的不同風景經驗。有鑑於唐代是園林文化興盛的時代，是以本文選擇以園林場所為核心，探討唐人在其中的風景體驗。全文共分為六章：　　第一章為「緒論」，說明本論文的研究背景及目的，借鑑於身體現象學的思路以界定「風景體驗」之內涵，進而將體驗的場所鎖定於園林之中，確立以山水園林、郡縣齋、城市私園三種類型的園林作為研究範疇，並回顧學界相關議題的研究成果，以說明本文在前人研究成果基礎之上所要進行的探討。　　第二章為「『風景』意涵考察」，有鑑於小川環樹〈風景的意義〉一文豐富了我們對古典文學中「風景」一詞內涵的認識，本文在其基礎上，進一步考察從六朝到唐代「風景」一詞的意涵，並留意於詩人們使用「風景」一詞時所呈現出的感知經驗。指出在六朝時期，「風景」一詞指詩人身處於自然中所感知到的風光氣象。到盛唐王昌齡《詩格》中指出詩中的「景語」除了要能體現出創作者身處自然場所中的真實感知經驗，同時亦留意到「景語」之「景」融合了個人過往的風景體驗、閱讀詩歌體驗累積而得的文化感知模式、想像力所創造出的空間場域三者交織而成。中唐以降文人認為詩歌能創造世界，改變了文人走入自然、體驗風景的身體感知，他們以「當下身體」感知周遭風景的同時，也在吟詠構思詩句，透過吟詠活動召喚「習慣身體」之內所積澱著過往的風景體驗與閱讀前人詩歌文本所獲致的感知體驗，並馳騁想像力將當下感知而得的景象與過往體驗融合，並加以變形轉化為能表達個人存有世界的「詩景」。　　第三章「山水園林風景體驗」，以王維為主要考察對象，探討他在輞川莊中的風景體驗。說明輞川莊之所以能成為王維精神生命的歸宿，乃在於輞川莊位於輞川山谷之內，而山谷內由山水、田園、佛寺所構成的場所精神，以及王維與村民、僧人的純樸互動，化解了王維身在官場中的煩悶，故而能成為其生命歸宿。其次，我們透過釐清王維身處時代的佛教史圖像，將王維的禪學修養工夫置放於當時北宗禪興盛的盛唐脈絡之下，指出他在輞川山中的生活，深受北宗禪守本真心、觀心的修養工夫影響，他透過反覆消融內心的貪嗔癡，破除我與我所執而呈現出「涅槃」、「寂靜」的真如之心。其筆下多首詩作的風景，呈現出了詩人以真如之心在每個當下如實觀照其知覺與意識感知風景時的活動變化，以及山水世界的諸種變化，是如何細微地在當下每一刻因緣起而共同作用，構成了詩人所體驗到的景象，從而體證「般若性空」之智。　　第四章「郡縣齋風景體驗」，本章追溯從六朝到初盛唐詩人所奠定的郡齋詩書寫中涉及到風景體驗的部分，指出他們對當地風土的感知，以及遊園賞景的感受，乃至於因園林幽靜氣氛而產生的「吏隱」意識，到中唐時期為韋應物、白居易、姚合三人加以深化拓展。就對風土感知的部分而言，韋應物有別於謝朓於以窗口作為框架，強調以視覺對窗外景色做遠近聚焦的把握，更為突顯由視覺轉移到聽覺、觸覺以感知景象的方式，呈現出地方風土的荒山寒雨浸潤詩人所身處的世界，並滲入詩人內心的寂寞；白居易繼韋應物之後，更為豐富地呈現出他在江州、忠州、杭州、蘇州各地所體驗到的風土差異，至於姚合對於縣齋的呈現主要扣緊其心境之落寞與當地荒涼景象間的關係以作呈現。至於園林賞景的部分，三人皆透過造景與遊賞的活動，讓園林氣氛能愈加引發他們的想像力，將園林空間轉化為更大的山林世界，從而體驗到「吏隱」心境，並於園林中重組他們的人境關係，以獲得由「閒」而「適」的感受。　　第五章「城市私園風景體驗」，則以孟郊、賈島、白居易三人作為擁有城市私園的代表。孟郊、賈島兩人身為貧士，由於身分地位與財力低落，他們在園中所體驗到的風景則非安適的感受，他們將其身心感受上的貧病失意和園宅風景的荒涼相互交織，並從對荒涼景象的吟詠中以獲得提振生命的昂揚姿態。至於白居易，本文在學界與考古調查的基礎上，參照唐代里坊制度，探討白居易如何將履道園營造為幽深空間，進而探討白居易如何將其對「閒適」之人生價值的追求，落實於閒行、閒臥、舟遊等以「閒適」之身展開風景體驗的過程，從而得到將生理上的滿足和心境之舒適與園林風景相互交織的「閒適之境」，再從白居易有意展演自身遊園經驗的意識，以說明他對晚年生命歸宿的肯定。　　第六章「結論：風景詩學的意義」，針對上述三章的分析作綜合論述，從場所、身體感知、思想、想像力之間的交織關係，以說明唐代園林風景詩學的研究意義。

關鍵字

風景體驗；身體；場所；山水園林；郡縣齋；城市私園

並列摘要

Taking the garden poetry in the Tang dynasty as the research object, this dissertation scrutinizes Tang people’s landscape experiences in gardens, i.e. investigates from the perspective of experience the meaning of Tang people’s writings about garden landscapes. This dissertation defines the landscape descriptions in poetic works as the poets’ dynamic experiences in nature. They are the product of the mutual interweavement and containing between the body subject of the poets and the natural world, and the poetic words are the embodiment of poets’ bodily existence experiences. In landscape experiences, perception plays the primary role. The differences in poets’ perception methods determine the distinctions in their landscape experiences. The “habitual body” similarly exerts an important influence on the presentation of the landscape experiences. The differences in cultures and personal life processes that different poets have acquired in the past are accumulated in the “habitual body.” They affect the differences in the poet’s bodily perceptions of the landscapes at the moments and determine the divergences among the landscapes they experience. Moreover, the places where the poets are located also affect their landscape experiences. Different places can lead to dissimilar landscape experiences in which the body and the environment are intertwined. Considering that the Tang dynasty is the era of garden culture’s prosperity, this dissertation chooses to take the garden places as the core and explore Tang people’s landscape experiences in them. The text is divided into 6 chapters: Chapter 1 “Introduction” states the research background and purpose of this dissertation. It borrows the idea of physical phenomenology to define the connotations of “landscape experience,” further locks the place of experience onto the garden, and decides the research scope on three types of gardens: mountain-water gardens, prefecture and county governments, and urban private gardens. It also reviews the research results of related topics in the academic circles to display the investigation this dissertation conducts on the basis of the previous research results. Chapter 2 is “An Investigation of the Connotations of ‘Landscape.’” In view of the fact that Ogawa Tamaki’s “Meaning of Landscape” enriches our understanding of the connotations of the word “landscape” in classical literature, this dissertation stands on the basis of this article, further examines the meanings of the word “landscape” from the Six Dynasties to the Tang dynasty, and pays attention to the perceptual experiences the poets present when using the word “landscape.” It points out that in the Six Dynasty period, the term “landscape” refers to the landscape and the atmosphere that the poet perceives in nature. When it turns to high Tang dynasty, Wang Chang-Ling specifies in The Principles of Poetry that the “scenic words” in poetry should not only reflect the writer’s true perceptual experience in natural places but also notice that the “landscape” in a “scenic word” merges personal landscape experiences in the past, cultural perceptual modes acquired through accumulation of poetry reading experiences, and space fields created by imagination. Since middle Tang dynasty, the literati have believed that poetry can create a world, which changes their physical perceptions in their walking into the nature and experiencing the landscape. While they perceive the surrounding landscapes with the “present body,” they also chant and conceive verses. Through chanting activities, they summon past landscape experiences as well as the perceptual experiences acquired through reading texts of poems by predecessors and accumulated in the “habitual body.” They run their imagination to combine the scene perceived at the moment with past experiences and transform them into a “poetic landscape” that can express the world of personal existence. Chapter 3 “Landscape Experiences in Mountain-Water Gardens” takes Wang Wei as the main research object and investigates his landscape experiences in Wangchuan Villa. It explains that the reason why Wangchuan Villa can become the harbor of Wang Wei’s spiritual life. It is because the villa is located in the valley of Wangchuan and Wang’s worries in the officialdom are resolved by the place spirit consisting of mountains, waters, fields, and Buddhist temples and by simple interactions between Wang Wei and villagers and monks. Then, by clarifying the picture of Buddhism history in Wang Wei’s times, we place Wang Wei’s Zen cultivation in the context of high Tang dynasty when Northern Zen Buddhism flourishes. We point out that his life in the mountains of Wangchuan is deeply influenced by the Northern Zen Buddhist cultivation of guarding the true heart and observing the mind. Through repeatedly dissolving greed, hatred, and ignorance, he breaks the self and the attachment to the self and presents the tathata mind of “nirvana” and “silence.” The landscapes in many of his poems demonstrate that the poet uses the tathata mind to truthfully observe his activity changes in each moment when his senses and consciousness perceive the landscape. They also show how the various changes in the mountain-water world function together at every moment of cause and condition, constitute the scene that the poet has experienced, and thus prove the wisdom of “prajna-sunyata” through experience. Chapter 4 “Landscape Experiences in Prefecture and County Governments” traces the parts that involve landscape experience in prefecture-government poem writings established by poets from the Six Dynasties to early and middle Tang dynasty. It indicates that their perception of the local customs, their feelings in touring in the gardens and appreciating the landscapes, and their “official recluse” consciousness produced by the quiet atmosphere in the garden are deepened and developed by Wei Ying-Wu, Bai Ju-Yi, and Yao He during middle Tang dynasty. In terms of perception of the customs, Xie Tiao takes the window as the framework and emphasizes grasping the landscape outside the window by focusing near or far with sight. In contrast, Wei Ying-Wu highlights perceiving scenes with the method of shifting from sight to hearing and touch, revealing that the barren hills and cold rains of local environments moisten the world the poet lives in and infiltrate the loneliness in the poet’s mind. After Wei Ying-Wu, Bai Ju-Yi presents more abundantly the differences in customs he experiences in Jiangzhou, Zhongzhou, Hangzhou, and Suzhou. Contrarily, Yao He’s presentation of the county government mainly fastens to the relationship between his lonely state of mind and the local desolate scenes. As for garden touring, all the three poets use landscaping and touring activities to make the garden atmosphere arouse their imaginations, to transform the garden space into a larger mountain world and thus experience the “official recluse” state of mind, and to reorganize their relationships with the gardens so as to gain a sense turning from “leisurely” to “comfortable.” Chapter 5 “Landscape Experiences in Urban Private Gardens” regards Meng Jiao, Jia Dao, and Bai Ju-Yi as the representatives of urban private gardens. Due to Meng Jiao’s and Jia Dao’s low social statuses and financial resources as impoverished scholars, the landscapes they experience in the gardens are not comfortable feelings. They interlace their impoverished, sick, and frustrated physical and mental feelings with the desolateness of the garden landscapes and chant about the desolate scenes to obtain high-spirited postures that lift life. As for Bai Ju-Yi, this dissertation refers to the lane wall system of the Tang dynasty on the basis of academic and archaeological investigations in order to explore how he builds the Practicing-the-Way Garden into a quiet and deep space. It further explores how Bai realizes his pursuit of the value of “leisure” in the process of using the “leisurely” body to unfold landscape experiences, such as leisurely walking, leisurely lying, and leisurely boating, and attain a “leisurely world” that interweaves the garden landscape with physical satisfaction and mental comfort. Then it explains his affirmation of the destination of his late life from his intention to perform his own consciousness of garden touring experiences. Chapter 6 “The Meaning of Landscape Poetics” has a comprehensive discussion on the analyses of the above three chapters from the intertwined relationship among place, physical perception, thought, and imagination, to expound the significance of the study on the landscape poetics of gardens in the Tang dynasty.