李退溪《聖學十圖》的詩性智慧與形象思維

Poetic Wisdom and Imaginal Thinking in T'oegye's 'Ten Diagrams of Sage-Learning'

《聖學十圖》是李退溪（名滉，1501-1570）六十八歲的作品，被視為完整表現其儒學思想的作品，也可說是其晚年定論。學者對此一作品十分重視，然研究重點多置於「聖學」內涵的探討。本文想從「圖」的角度審視退溪作圖說理所蘊藏的詩性智慧與形象思維。本文嘗試以維科（Vico, 1668-1744）、黑格爾（Hegel, 1770-1831）、費爾巴哈（Feuerbach, 1804-1872）、加達默爾（Gadamer, 1900-2002）的理論為參照系，探索退溪作圖的意義。「圖」對退溪的聖學而言，並不是外在的形式，而是內在的本質性的。就存有論的層面言，道本無形象，卻寓於形象，道與形的關係值得深究；就工夫論的層面言，退溪所謂「因圖致思」、「體玩警省於日用之際，心目之間」正是培養護持「敬」的重要工夫，故圖與工夫論息息相關。退溪留下二千多首詩，其中有七百首寫於人生最後的十年，這十年同時也是其學問臻於成熟的時期，他更在六十八歲留下具備其思想完整體系的《聖學十圖》。退溪在其思想成熟之期，如此富於詩情畫意，不無深意，值得深入探討。

This paper attempts to explore the poetic wisdom and imaginal thinking in T'oegye's 'Ten Diagrams of Sage-Learning'. For T'oegye, diagrams as formal elements in this Confucian work are not only external forms but convey inner meaning. T'oegye presented these diagrams by pictures and letters. The genre written in 'Ten Diagrams' are basically inscription and exhortation. The Chinese sages long ago recognized the necessity of keeping oneself admonished by carving sayings on his carriage and desks. The pithy phrase is required by these genres. T'oegye's literary presentations of 'Ten Diagrams' are explored in the paper. Furthermore, this paper tries to elucidate the imaginal thinking exercised in the formation of these ten diagrams. The usage of some particular Chinese calligraphy, the size and shape of some letters and the lines connecting those letters are significantly remarkable. These poetic and imaginal elements are profound and deserve close investigation.