後謝靈運時代的「風景」－－以鮑照、謝朓為例

Fengjing (Light and Atmosphere) as Landscape in the Post-Xie Lingyun Era: Exemplified in Bao Zhao and Xie Tiao's Poems

本文以謝靈運為對照，探討宋、齊之間以鮑照和謝眺為代表的中國詩歌自然風景美感話語的伸展。文章指出：此期詩人的視野，不僅已自謝靈運山水詩主要觸及的閔湖山地丘陵地區，移往長江中下游平原，且發展了在此地區據小丘「望」而「瞰遠」的動機。其中，鮑照將景物置於廣闊的天／地的構架之中，以此詩人在「山水」中增添了天象和渺漭的濕氣象。大謝山／水基元構架下的山／水與色彩的對比，遂被景物間的明暗關係所替代。詩人並於淼茫的江天濕氣象中發現了與其情感類似的結構或基調，使之成為漂泊旅人迷茫、陰沉心境的象徵。謝月朓所「望」的則常常是官廨衙署軒窗中的「風景，它不僅令「山水」與都邑毗連，且令詩中風景前所未有地出現了具畫意的平遠構圖。詩人於此敏感於眼前同一片天地中的變化，而其心靈的微瀾則油然因之而起，與之同步。本文結論反思了現今所謂「山水詩」這一概念，提出「山水詩」在很大程度上是現代學術文學史家的杜撰。古代中國自然風景美感話語樹的生長，與其說伴隨著所謂「山水詩」的發展，毋寧說是「山水」之美在為東晉詩人（以謝靈運為代表）發現之後，逐漸滲入遊覽、送別、去離、衙署閒情、行旅、登臨、懷古、思親、遊仙和邊塞等題材的過程。

Taking the poems of Bao Zhao 鮑照 and Xie Tiao 謝脁 as exempla, this article tracks the growth of the ”tree of cnunciative derivation” of landscape aesthetics in the post-Xi c Lingyun 謝靈運 era. The author argues that the poets of this era had not only shifted their attention geographic ally from the mountains and hills of Fujian 福建 and Zhejiang 浙江 to the plains of the middle and lower reaches of Yangzi River, but also developed a particular interest in describing distant views from small hills. Bao Zhao situates the landscape within a broad Heaven-Earth framework, thereby adding astronomical and moist atmospheric phenomena to his ”mount and river” poems. The contrast between mountains/ water and colors of Xie Lingyun's primitive framework is therefore replaced by an impression of chiaroscuro in the natural landscape. The poet finds in the moist atmospheric phenomena between the river and sky reflection s of his own emotions in structure and tone, and thus these phenomena become symbols of the dazed, gloomy moods he experiences while wandering in strange lands. What Xie Tiao views in the distance is the f engjing (風景 light and atmosphere) of the landscape framed by the windows and doors of his office in Xuancheng 宣城. This viewpoint not only connects the natural landscape with the city vista, but also endows the landscape with a new take on this compositional perspective. Herein the poet is sensible of the subtle variations within the same limited frame. each of which causes a simultaneous stirring in his heart . The article concludes with a rethinking of the concept of ”landscape poetry,” contending that so-called landscape poetry is nothing more than a term fabricated by modern scholars of literary history. The growth of the tree of enunciative derivation of landscape aesthetics is not so much a development of landscape poetry as a process by which the beauty of the natural landscape, after being ”discovered” by the poets of Eastern Jin (of whom Xie Lingyun is a representative), gradually permeated into such themes as touring, seeing -off, parting, office leisure, traveling, meditation on the past, missing home, wandering in the realm of immortals,and frontier fortress poetry.