楊氏太極劍譜的意象思維

The image thinking of Yang-Style Taichi Sword Manual

目的：探討楊氏太極劍的招法動作與意象思維關聯。方法：以楊式五十四式太極劍譜作為分析文本，援用「引譬連類」的類比認知法則作為處理劍譜「喻意象形」的理論基礎。將每一個招式，依動物、植物、自然、生活器具、神仙或奇珍異獸等物象分類，每個招式動作均有一個物象的形象主體，它代表著這個招式的主要屬性，加上來自劍招中由動詞構成的動作或狀態，即可表達這個劍譜招式的「象形」意涵。總結：針對劍譜招法動作中的意象思維，本文關注的焦點有三：一、意象思維與性別想像：劍和刀的屬性不同，「劍」有「青」、「輕」、「飛」、「柔」等堅貞陰柔的性格，而「刀」有「剛」、「猛」、「厚」、「黑」等果敢陽剛的性格，兩者的形象迥異。二、意象思維與道家思想：楊氏太極劍譜由起式到收式，其過程說明了由無極還原自然往復的歷程。劍譜一開始即透過「仙人指路」，指引出修煉的進路和方向，讓劍者透過修煉最終即可手捧牙笏，列入仙班，達成證道登真的境界。三、意象思維與身體模擬：招式屬性的意象提供練劍者身體模擬的「象形」，每一個招式的意象思維，均包含三個層次的「象形」模擬，其一、動作的輕重緩急，其二、動作的速度與方向，其三、動作的力道與蓄放。透過這三層的身體意象思維想像，指引學者認識劍譜中潛藏意象思維的操作模式。Purpose: This paper takes the Yang-style sword manual as the major text for analysis to explore the connections between body movement and image thinking. Methods: Based upon the theory of 'assembling pictorial figures' and its analogical way of cognition, this paper will first divide all the fifty-four movement sets in the sword manual into five major categories-animals, plants, nature, utensils, deities or animals in legends-to find the correspondence between each movement set and its central object of imitation. Combined further with the action or situation denoted by the verb in each movement title, it thus helps to define the major attribute of each movement set in light of its corresponding 'ideographic' connotation. Conclusion: There are three major findings in this paper. The first points to the gender imagination of the image thinking process in the Yang-style Taichi sword manual. It maps out the image of the 'feminine' sword and the 'masculine' knife in contrast to each other by identifying their different attributes and gender imagination. Secondly, it traces the image thinking process back to the Taoist tradition. Beginning with 'the Deity Pointing the Tao,' the movement sets in the Yang-style Taichi sword manual initiate a circular process of starting from and returning to the Tao, a bodily and spiritual practice of embodying the Truth. Finally, it foregrounds the connection between image thinking and body imitation. Each movement set provides a vivid 'image' or 'ideogram' for the practitioner to follow in terms of (1) the heavy/light/fast/slow attribute of the movement, (2) the speed and direction of the movement, and (3) the force and control of the movement. Through these three layers of body imitation, the practitioner can thus successfully embody the image thinking process implied in the sword manual.