匱缺至光幻──梁陳詩歌「空」義析論

From Lack to Illusory Light: An Analysis of The Connotation of“Kong”in Liang Chen’s Poems

學界目前論述詩歌之「空」，以王維詩歌及禪宗思想對其空境之影響為主。本文擬在學界積累之研究成果上，追溯梁陳詩歌之「空」，存在何許意象上之遞衍脈絡，以及與王維詩歌空境存在何許承傳關係。就本文梳理所見，梁陳詩歌之「空」，除了前代常見意象，其間更匯入佛教擬譬空理所使用之聲光事象。此中亦得探見梁陳詩歌之「空」，包含感性層面之匱缺空象，此屬前代詩歌傳統；與理性層次之徒然空意，乃見於前代並於佛教空觀傳播下更見強化；以及審美層次之光幻空景，此屬理性層次強化下匯入虛幻聲光之象。換言之，光幻空景乃在匱缺空象之基礎上，以徒然空意為過渡，匯入聲光強化空感而成。且透過梳理梁陳詩歌之「空」，亦得釐析梁陳詩歌空象與王維禪觀空境之間，確然存在傳統滋養與時代變創之跡。可知新興意象之形成猶關涉文學傳統，需要進一步還原新舊漸變之跡，此則本文著意之處。

The current discussions of “Kong” of poetry in academic field are mainly focusing on the influence of Wang Wei’s poetry and Zen Buddhism. This paper intends to trace the “Kong” of Liang Chen’s poetry based on the existing foundations, delineating the context change of imagery and explicating the inheritance relationship with Wang Wei’s poetry. From the point of view of this paper, the “Kong” of Liang Chen’s poems, in addition to the emblematic imagery of previous literature, also incorporates the sound and light used in Buddhist analogies of emptiness. It can be inferred that the lack at the perceptual aspect belongs to the poetic tradition of the previous generation, while the vanity at rational facet is enhanced and influenced by the prevalent of Buddhism. In other words, illusory in a poetry is established on lack and then transferred to vanity. Finally, infused and enhanced the sense of emptiness with sound and light. Through scrutinizing the “Kong” of Liang Chen’s poetry with the emptiness of Wang Wei’s poetry, this paper clarifies the relationship between the traditional inheritance and new context over time. To elaborate, the formation of new imagery is related to literary traditions and deserved further inspection.