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| Title: | 臺灣中國古典文論觀念史研究（1949迄今）—韻外之致：臺灣中國古典文論的「神韻」說研究
Yun Wai Zhi Zhi |
| Authors: | 曾守正 |
| Contributors: | 中文系 |
| Keywords: | 神韻;意境;興趣;境界;韻外之致
Spiritual Resonance;Artistic Conception;Inspired Feelings;Mental Vista;the finest reach beyond rhythm |
| Date: | 2022-06 |
| Issue Date: | 2024-07-03 13:22:21 (UTC+8) |
| Abstract: | 自《尚書》「詩言志」、《左傳》「詩以言志」開始，「言志」便逐漸成為中國古典詩歌的重要觀念，朱自清《詩言志辨》一書的出版，則更標顯此觀念對於中國詩歌史、批評史的影響。清初王士禛則取王維、孟浩然等人清澹悠遠的詩風，以及司空圖《二十四詩品》的「韻外之致」、嚴羽《滄浪詩話》的「興趣」，陶鑄了「神韻」觀念，而此亦引發日後詩學熱議，其中，王國維更概括出一套發展譜系，並且修訂地說：「滄浪所謂興趣、阮亭所謂神韻，猶不過道其面目，不若鄙人拈出境界二字，為探其本也。」而「神韻」與「言志」，也慢慢形成為一組對顯的觀念。1949年之後，臺灣古典文學研究則對於「言志」、「神韻」，或從儒家心性論、美感經驗、語言藝術等角度，不斷深掘觀念內蘊，在詮釋論述的深層裏，或以西方文學思潮為資糧，挪借西方學說以闡述傳統觀念；或在中華民族之花果飄零的悲感下，重繪文化傳統內在而隱藏的連續脈絡。 本計畫以近70年來臺灣古典文論中，有關「神韻」的研究為起點，並且上溯「意境」、「興趣」，下及「境界」等觀念叢集的相關論述，整理將臺灣近70年來，古典文學觀念史探述的主要內容、特質及其語境，俾利下一輪古典文學研究議題與方向的開展。
Ever since the ideal of “poetry as the expression of aspirations” （shi yan zhi, 詩言志） was introduced in the Book of Documents （Shangshu, 尚書） and Zuo Tradition （Zuozhuan, 左傳）, “expression of aspirations” （yan zhi, 言志） has become an important concept in classical Chinese literary theories over the ages. The publication of On Poetry As the Expression of Aspirations （Shi Yan Zhi Bian, 詩言志辨） by Zhu Ziqing further established the significance of this concept in Chinese poetic history and history of Chinese literary criticism. In the early Qing Dynasty, Wang Shizhen introduced the “spiritual resonance” （shenyun, 神韻） theory, incorporating the poetic style of Wang Wei and Meng Haoran, which uses plain language to create a long lasting impression, the concept of “the finest reach beyond rhythm” （yun wai zhi zhi, 韻外之致） in Sikong Tu’s 24 Orders of Poetry （Ershisi Shipin, 二十四詩品）, and the concept of “inspired feelings” （xingqu, 興趣） in Yan Yu’s Canglang’s Remarks on Poetry （Canglang Shihua, 滄浪詩話）. The “spiritual resonance” theory subsequently became an important part of discussions and debates in the poetry arena. Wang Guowei summarized the development process of the “spiritual resonance” theory and added a remark: “The so-called ‘inspired feelings’ by Yan Yu and the ‘spiritual resonance’ theory by Wang Shizhen only scratched the surface, only my ‘mental vista’ （jingjie, 境界） concept reaches the essence.” “Spiritual resonance” and “expression of aspirations” gradually became a pair of concepts in contrast with each other. After 1949, research efforts in the classical Chinese literary theory field in Taiwan deepened the understanding of “expression of aspirations” and “spiritual resonance” from perspectives of Confucian theory of mind and nature, aesthetic experience, linguistic artistry, etc. To reach a deeper understanding, scholars used western theories to illustrate traditional concepts, or, with a mission to revive the embattled Chinese culture, reconstructed the hidden continuity intrinsic to the traditional culture. This project starts with a review of research results on the “spiritual resonance” theory in the classical Chinese literary theory field in Taiwan since 1949, and traces the theory backward through concepts of “artistic conception” （yijing, 意境） , “inspired feelings” and forward to the concept of “mental vista.” For the purpose of facilitating future research efforts in or related to this area, this project sorts out the main content, characteristics and context relevant to the “spiritual resonance” theory in the history of ideas on classical Chinese literary theories in Taiwan since 1949. |
| Relation: | 科技部, MOST107-2410-H004-182-MY3, 107.08-110.07 |
| Data Type: | report |
| Appears in Collections: | [中國文學系] 國科會研究計畫
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