漱石題畫詩中之繪畫意境──與王維之《輞川集》作比較

Natsume Sōseki's Inscription Poetry on Painting and Its Comparison with Wang Wei's Wang Chuan Ji

中村宏對漱石之題畫詩稱道：「漱石漢詩早期即出現饒富繪畫意境之詩句，這（題畫詩－－引用者注）是最明顯的例子，而且以歌詠“胸中之畫”為主的要屬題畫詩時期」，可見評價甚高。這可說就是文人畫中所謂的「詩中有畫」之藝術境界吧！提到「詩中有畫」，一般人都會聯想到中國文人畫始祖王維，而其中最能表達這種藝術境界的首推王維的《輞川集》了，此詩集中收錄之漢詩都以臻至「詩中有畫」之境界而為人知曉。漱石崇拜王維畢生追尋之藝術境界，寫給友人信札中多次提及王維，並在小說中對《輞川集》之漢詩讚賞有加。對王維如此傾心之漱石其所吟詠之題畫詩中展現何等繪畫意境？頗耐人尋思。拙稿分析漱石題畫詩中題材之特色、人與自然界之關係、並與王維之《輞川集》作比較，探討兩者問之相異點、漱石以何種方式承襲了王維的藝術精神－－文人畫精神？或是有以自己的方式重現其精神之處？

Nakamura Hiroshi praised Sōseki's inscription poetry, by saying that ”Lines that of painting conceptions appeared in early Chinese poems composed by Sōseki, and this (inscription poetry) is the most obvious case. Poetic themes on Literati also represent the period of his inscription poetry.”2 One can see this as the realm ”painting in poetry” of Literati painting (Bunjinga). When it comes to ”painting in poetry”, one generally thinks of the founding father of Chinese Literati painting, Wang Wei. His literary works can express this realm to the extreme, for example Wang Chuan Ji, a Chinese poetry collection that is famous for depicting ”painting in poetry”. Sōseki adored the artistic realm that Wang Wei had been seeking all life. He often talked about Wang in his letters to friends and had made several compliments on the Chinese poems in Wang Chuan Ji in his novels. As a huge admirer of Wang, how would Sōseki present inscription poems in the painting realm? This study intends to examine the characteristics of elements used in Sōseki's inscription poems, human's relations with the nature, and the comparison with Wang Chuan Ji-their similarities as well as differences. Last but not least, this study also tries to explore if Sōseki used his owned way, or adopted Wang Wei's Literati conceptions in his works.