漱石文學中展現之南畫心象──以《虞美人草》為素材

The Revelation of Nanga Imagery in Soseki Natsume's Gubijinso

《虞美人草》之相關研究論文多半將論點重心放在藤尾之角色上，由繪畫角度分析作品中繪畫元素之研究，也幾乎圍繞在藤尾的言行舉止，以及她身上的裝扮，當然所採取的對照素材也不脫離西洋風格以及色彩的範疇。本篇論文設定甲野為研究對象，探討甲野房間擺飾的父親遺像中，是否投入南畫要素？對甲野來說是否可以解釋做是一種南畫的心象？首先釐清南畫特徵、漱石本身對南畫的理解，其次分析作品中主要人物之相互關係、甲野面對父親遺像時的心境、小說中解說者對畫的敘述等。結果顯示，甲野與其他劇中人物有別，不屬於任何一個團體而是孤獨個體。這種孤獨的心理是因為父親不在所引起的，而此父親之肖像重神韻的描繪正符合南畫「傳神」、「寫意」、「氣韻」等之特色，以此原則描繪之父親在甲野心中，正如同「活著」的父親一般。換句話說，也就是父親遺像如同南畫一般映照於甲野心中，透過此肖像甲野得以與他者恢復連結關係，孤獨寂寞之情得以舒展、開懷。

Most of the papers on Gubijinso mainly emphasize the protagonist, Fujio. Also, the studies from the perspective of painting put stress on Fujio's behavior and clothing and are always related to western style and categories of colors. However, this paper studies on Kono, discussing whether the element of Nanga exists in the portrait of Kono's father in Kono's room and, to Kono, whether it could be the imagery of Nanga. First of all, it is necessary to inform what Nanga is and how much Soseki himself knows about it. Then the relationship of the characters will be analyzed. Besides, what is important is what Kono feels when he looks at his father 's portrait and the narration of this portrait. It shows that Kono is different from the other characters because he is a loner not a member of any group, which results from the absence of his father. The vivid portrait of Kono's father is accord with the characteristics of Nanga, say, vivid and graphic. To Kono, the vivid portrait gives him the feeling that his father is still alive. Through this portrait, Kono can again connect with others and release his loneliness.