郭象玄學與山水詩之發生

Guo Xiang’s Dark-learning Philosophy and the Birth of Chinese Landscape Poetry

本文力圖從一新角度－－魏晉思想文化對漢代文化的解構－－去探討山水詩的成因。文章首先提出：中國詩歌中衍為傳統的即事而作、寓目輒書的特徵其實是一個最終形成於西晉以後的歷史現象，其與山水詩的醞釀、發生大致同步，且為後者之前提。這一發現將作者引向此文學現象背後歷史文化脈絡的探討。文章回溯自王弼至郭象的思想界對漢代繁瑣宇宙秩序的解構，詮說郭象玄學乃完全跳出漢儒天人圖式的樊籬，空前高揚了自然生命原發精神的思想標誌。由此，文章轉入原發精神滲入詩壇過程的追尋。在此，本文非如以往論者那樣強調山水詩承自漢賦的傳統，而相反自結構經營、空間經驗的組織和文字功能三個方面探討了山水詩相對漢賦的藝術進境，這些進境皆指向自然生命之原發精神。從而證明了：山水詩正是中國思想文化摒落了漢儒兼攝天人、總攬古今的宇宙圖式之後，在文學視界裏開顯的新的「天人之際」，與郭象玄學為同一歷史文化脈絡下一對桴鼓相應的文化現象。

This article re-explores the factors contributing to the rise of landscape poetry from the intellectual deconstruction of Han culture in the Wei-Jin period. First of all, the article contends that immediacy did not form one of the major features of Chinese poetry until the Western Jin, the brewing period of landscape poetry, and became a prerequisite for its emergence. This discovery leads the author to explore the cultural-historical context behind these literary phenomena. The author traces the intellectual process from Wang Bi 王弼 to Guo Xiang 郭象, arguing that Guo’s dark-learning philosophy completely broke free of the confines of the Han Confucian scheme of the macrocosmic relationship between Heaven and Man, and promoted a natural primordial spirit of life in an unprecedented way. After making this observation, the article then seeks to identify the process by which this natural primordial spirit permeated poetry in terms of its management of structure, organization of spatial experience and the function of language. The rise of landscape poetry was therefore a cultural phenomenon parallel to the intellectual phenomenon of Guo Xiang’s philosophy.