〈一夜〉小論──繪畫代表之意義

A Study of "Ichiya" －from the Viewpoint of Painting

江藤淳、陳明順、加藤二郎等研究先進們以禪語、禪宗意境等要素解開〈一夜〉之謎。筆者在本稿中嘗試以繪畫角度，將作品中貌美女子以及『床間』這塊空間視為圖畫，檢視貌美女子之獨特描寫、以『床間』為畫框所構成圖畫之構圖、用色，比較南畫與此兩幅畫之共通點，證實〈一夜〉中之南畫色彩。筆者檢視結果發現漱石透過「留白」這種南畫之構圖特色、文人畫（亦即南畫）寫意式之描繪表達出了自己的內心世界、追求之思想。〈一夜〉之南畫手法、寫意式描繪呈現了宇宙之縮圖─小宇宙，暗示了宇宙間之「理」、人與宇宙之關係，透過貌美女子的表情、與兩位男子、蜘蛛、螞蟻等（宇宙）之間所持之態度，漱石在〈一夜〉中做了一個以沉靜、內斂之心觀照宇宙之典範。

Using Zen language and the mysterious atmosphere of Zen Buddhism, Jun Ito, Meijun Chin and Jiro Kato solve the riddle of Soseki's short story “ Ichiya”(One Night). And we are going to discuss this question from the viewpoint of painting. We find out that Soseki shows his philosophy and his inner world through the framing skill of “leaving a blank”- the characteristic of “ Bunjinga ” (the painting of literati) or “Nanga” (Southern Sung Painting). As a matter of fact, Soseki demonstrates a condensed universe and suggests the law of nature in this short story by the skills of “Nanga”- emphasizing a few, rapid, rhythmic strokes rather than careful delineation.