《全宋詞》垂簾「隔中有透」視覺意象探析

Exploring the Aesthetics of Visual Images Penetrating Through Curtains in The Complete Collection of Ci from Song

簾，作為中國建築最早的空間分隔設施之一，可捲可垂，予人獨特的審美想像與情感暗示，同時亦是構成深靜意境的重要因素，故宋代詞人愛從「簾」以吐納世界。「垂簾」所起之「分隔」作用，可截斷旁人窺探之視線，造成距離，滿足遮蔽風日等各種功能需求；以其「隔中有透」，未完全阻隔視線，可通過一定的光線與空氣，引來形色動人的視覺意象及光影變化，達成內外空間景物的交互滲透。「隔」，是形式與情思的有機融合，為認識、理解與把握傳統藝術內涵帶來一個有效的切入點。故本文以唐圭璋主編《全宋詞》為核心文本，逐一探討垂簾「隔中有透」的形色與光影等視覺意象及其細膩幽微的情思與美感。

One of the earliest items used to separate the indoor and outdoor areas in traditional Chinese architectures, curtains could create the far-reaching tranquility and a peaceful atmosphere when hung. In addition to protecting and respecting personal privacy, hanging curtains could also add the aesthetics of visual images. Thus, not only could large public spaces or private spaces be separated by them, but also a variety of different artistic effects could be created. This paper looks at how curtains are used in ”The Complete Collection of Ci from Song”, specifically analyzing the following two aspects: 1) examining visual images and aesthetics when the moonlight, ornamentals, swallows, and so on are depicted penetrating through hanging curtains and entering indoor spaces, and 2) enumerating the variety of lights and shadows that were created by the sunlight or moonlight penetrating through hanging curtains.