謝靈運的審美素養及其山水詩的藝術美

Hsieh Lingyun's Aesthetic Accomplishment and the Artistic Beauty in His Scenery Poems

謝靈運為我國開創山水詩之宗師，將文學的境界，自「人世」導入「自然」，大量寫作清新自然、優美健康之山水詩，對後世文學內容之充實，文學技巧之提升，文學生命之發展，以及自然審美情操之培植，貢獻厥偉。然而由於時代風氣、批評角度、評家好惡等因素之影響，對謝靈運詩作之評論，不免毀譽參半，見仁見智，個人以為若自藝術之審美角度，先去了解靈運個人之審美素養，以及其產生之背景，則對靈運創作之山水詩的評價，或許較有一客觀而公正之評斷，基於此項探討之意義與目的，以下乃分：一、謝靈運的審美素養。二、謝靈運山水詩的藝術美。分別論述。謝靈運之藝術素養，主要由幾項因素陶養而成，首先是靈運個人天賦具有強烈之愛美心理。其次是家族成員，均具有藝術天分與藝術專長，可說是一脈相傳。再其次是當代唯美思潮，與江南優美之自然環境，對靈運之審美素養，亦多所啟發與薰染，有此深厚之審美素養與審美情趣，所建立之獨特審美觀，激發其才思感興，去創作山水詩，方能達到「體物密附」、「巧言切狀」，真境呈現之效果。而在謝靈運窮力追新之經營下，其創作之山水詩，所呈現之藝術美，則舉其犖犖大者，歸納為四項：（一）結構之美。（二）語言之美。（三）自然之美。（含1.動靜之美。2.聲色之美。）（四）理趣之美。綜合之，即新、奇、險。而其山水詩之藝術美，亦絕非後代山水詩人所能望其項背。

Hsieh Lingyun inaugurated the writing of scenery poems, which integrate the secular world with natural scenery, thus creating a genre imbued with fresh landscapes and aesthetic exquisiteness. His representation of nature therefore enriches literary creation, cultivates a unique writing style, and develops aesthetic sensitivity. However due to different aesthetic tastes, different critical practices, and different understanding of Hsieh's employment of landscape, most criticisms on his (scenery) poetry are biased. This paper aims therefore to reevaluate Hsieh's poetry through his aesthetic accomplishment and the aesthetic beauty exhibited in his scenery poems. I would argue that Hsieh's aesthetic accomplishment is derived from his talent and his family tradition and inspired by the natural beauty of Chiangnan and the ideological trend of beauty of his contemporaries. His is then well-cultivated in aesthetics which in turn develops his ability to appraise beauty and which stimulates his poetic creation, his verbal simulacrum of nature, in a way that is distinctive of his in terms of the use of language, structure, formulation and inherent philosophy. Unusualness, sublimity, and obliqueness— typical of his scenery poems— are then synthesized in his representation of nature, whose virtuosity can never be surpassed by future generations.