- 學位論文
吾都與他方--明賦之人文地理書寫研究
Our Cities and Their Places: A Human Geography Study on the Fu-Writing of the Ming Dynasty
摘要
本論文分為上篇吾都與下篇他方，進行明代京都賦與行旅賦（異域部分）的基礎研究，為文本全篇之梳理，並力求不調動賦作之結構，依此尋求賦家寫作的思想脈絡，呈現賦作之旨意。依時代的發展順序，將作品逐一詳盡解讀，以求文本各面向的意涵及專篇特色，最後統合兩類賦作的共同特質以為結論。 明代實施兩京制度，而明代京都賦為歷代之冠。明代實施封貢制度，有蕃國、有羈縻之地，而賦家有征行與征伐之作，足跡超出中土。故此二類明賦與明代政治有密切關係，藉由明代京都賦，我們可以明白兩京在賦家心中的定論；藉由足跡超出中土的征行與征伐之賦作，我們可以明白賦家心中的華夷之辨；藉由此二類明賦，我們可以明白賦家心中的文化認同。舊有文類的內涵形式隨著社會脈動而更動，賦家之當代情境與個人經歷皆不同於前人，此二類明賦所寫之題材乃攸關明朝當代政治制度，也因此於文學創作內容上有所新拓，更進而承載內容的形式也有所新變。 明代京都賦賦家之身分有其共性，從籍貫而言，十位賦家均為南方人，均曾親履北京，親眼目睹北京風華與氣象。論其學養，進士乙榜者一、貢士者一，餘為進士。論身分，則有京職官員，有京職官員兼文學家，有京職官員兼方志家兼文學家，有地方官員兼方志家兼文學家，有方志家兼文人畫家，可謂均為高文化之士。每篇京都賦各有特色，而共同論點在於（一）京城選址論述（二）京城規畫描述（三）京城建築描寫（四）兩京氣象差異。賦家敘寫地理景觀，展現了豐富的自然地理知識；以分野、地中說、天下山河兩戒說、風水觀，表達了環境價值觀；以天子守邊肯定北京的地位，南京則是充滿歷史記憶，南朝的、明初的，而以文化之都定位。明代賦家用盡心思形塑北京城的輝煌壯麗與皇家禮制文化。以高聳、中心、軸線、對稱等空間美學觀對皇城建築群描寫，再作細部描繪，以凸顯其精雕細琢之工。而北京城自建造後，歷經祝融與增建，藉由永樂、成化、嘉靖與萬曆時期的北京賦，北京城（兼及皇家遊苑）建置之風貌與嬗變可得而知。故就縱向審視，可謂兩京沿革之文獻資料，故具有文獻價值；而賦家在作品中蘊藏著的豐厚的情懷，此又是與方志不同之處。出於獻賦傳統，明代賦家鋪寫京都賦之動機亦多在於獻賦，目的各有不同，或宣上德，或諷諭，或諛君，或逞才學；另有表明或欲傳後世，或為畫跋。至於獻賦以為諷諭，用心固然深矣，卻終究不起作用。 至於敘寫征行與征伐至異域之賦家，論身分，則有總兵，有翰林編修，有戶科給事中，有行人。行走於華夷兩地的賦家，在賦作中或刻意描寫蕃國勤慎接迎王人，凸顯蕃國的慕華；或強化蕃國的異質文化，流露自我文化的優越性；或反覆書寫思鄉與懷歸，表達對異質文化的不認同；或重視文化傳播，推崇自我文化；身為明朝的文化官員以華夏文化為傲，在賦作中油然興起華夷之辨，展現強烈的文化認同。對難忘的旅程與個人情志多所感發，則以騷體賦承載，充滿瑰麗奇瑋色彩與眷戀纏綿深情；極力彰顯封貢制度下宗蕃權力關係，著重異國風土，則以散文體賦鋪陳，既可視為文獻，又絺章縟采，足列詞藝之林。
並列摘要
This dissertation is divided into two parts. The first part is “Our Cities,” and the second “Others' Places.” It is a base research of jingling fu and xinglu fu of Ming Dynasty, and studies thoroughly on the text. By exploring the structure of these fu, the research searches for the writers' threads of thoughts, to reveal the underlying theme of the works. In the order of written time, each of the works is analyzed for every aspects of meanings and its own specific characteristics. Finally the dissertation concludes with the shared qualities of these two types of fu. The Ming dynasty practiced the dual capital cities, and has the greatest amount of jingdu fu of all Chinese dynasties. The Ming dynasty also operated the tribute system, and had self-rule administrations and warrior estate. Fu writers traveled abroad and wrote about the war or their service as an envoy. Therefore, such works were highly related to politics of the Ming Dynasty. With the help of jingdu fu of the Ming Dynasty, one understands the writers' evaluation of the two capitals, while with xinlu fu one sees the writers' self-distinction from the Chinese-Foreign relationships. In both types of fu, the writers reveals their cultural identification. Genre and forms of literature change with the society, and the writers' situation and experiences differed from the past. Since the themes of these two types of fu were about contemporary political system of Ming Dynasty, the literary content had also had to be broaden, and as a result the from that carried the text needed to evolve. Fu writers of the Ming Dynasty had some similarities: all of the ten were from the south, all had visited Beijing and saw Beijing's prosperity. Not only were they well-educated and socially respected officials, they also were highly cultured artists and geographers. Each of the jingsu fu had different characteristics, but all of the works wrote about the following themes. Firstly, they discussed the terms and conditions of an ideal capital. Secondly, they described the planning of the two cites. Thirdly, they described the buildings. Fourthly, they compared the atmosphere of the two cities. With their descriptions of the cities' scenery, the fu writers revealed their abundant knowledge of natural geography. The writers expressed their value of the environment. For them, the Emperor chose Beijing as the capital city to show his determination to guard the nation's north boundary. On the other hand, Nanjing represented history and memories, it served as the capital city of culture. The writers racked their brains to shape with words the magnificence and the refinement of Beijing as well as the royal rites and regulations. Also, since Beijing had more than once experienced great fire and reconstructions, the fu that were written in different eras are important materials and references. Fu writers projected their emotions into their works, and therefore separated the works from general local topography. Fu writers of the Ming Dynasty wrote their jingdu fu mostly due to the tradition of fu-offering. Some offered the fu to the Emperor to show off the intelligence and writing skills, some wanted to flatter the Emperor, some wrote the fu as an allegory (although it never caused any difference), and some intended the fu to go down to posterity. As for the writers of xinglu fu, they occupied various official posts from generals to ambassadors. These officials had chances to travel around the country and abroad. In some works they described how carefully the foreign leaders treated them, to emphasize their admiration to China, strengthen the alternative culture, and revealed the writers feelings of cultural superiority. In some works they repeatedly express their longing for home and disagreements with foreign cultures. In some works the paid attention to cultural communication and cultural identity of being a Chinese. They used sao as the style of fu to record their marvelous journeys and aspiration. These works were filled with emotional, colorful and exotic rhetoric. The works that made a supreme effort at the power relationship of tribute system, on the other hand, were written in prose style. These fu were not only historical data, but also good enough to be seen as art.