「身後身」的含蓄美學與倫理：《一代宗師》的情感眾罔兩

The Aesthetics and Ethics of Reticence “Behind Shadows and Penumbrae”: Polymorphous Affective States in The Grandmaster

本文以劉人鵬、丁乃非等人在《罔兩問景I》與《罔兩問景II》中建立的兩個罔兩理論模型為架構，探問王家衛《一代宗師》中宮二作為「身後身」之罔兩性，以罔兩之「中間物」特質思考文本的含蓄美學與倫理。我認為「悲」以不同情感罔兩型態體現於個別角色的「情境」與超脫個體之崇高（sublime）層次的「意境」中，形成擺盪於「見天地」與「見眾生」的複雜辯證，不僅包含「悲悼」及其相關之眾情感罔兩，更形成一種具有佛教意識、亦可稱之為「慈悲」的同情結構。為進一步理解這種同情結構與文本（悲劇）敘事的關係，我檢視亞里斯多德（Aristotle）的悲劇情感與美學理論，將他所提出的同情理論對比華人含蓄美學傳統中的同情論述，即所謂「情景交融」，最終則回到電影中宮二奉道前後的兩個古剎場景，具體在影像層次指出情、景、罔兩的水乳交融，並透過一系列人與物之特寫組成的（空）鏡頭，肯定她以深具「中間」特質的「見天地」為其倫理根柢的宗師之道。

This paper invokes the two versions of understanding of“penumbrae”as developed in Penumbra Query Shadow I and Penumbra Query Shadow II by a group of scholars including Jeng-peng Liu and Naifei Ding in order to consider the reticent poetics and ethics of Wong Kar-wai’s The Grandmaster. I employ their notion of“thing-in-between”as my framework to inquire into the“in-betweenness”of the penumbra that Gong-er comes to embody therein. I maintain that pathos has been morphed into different guises to subtend individual characters’qingjing (emotional state) and yijing (the mood of things) located at a sublime level beyond their reach, thus forming a complex dialectic between“jiantiandi”(seeing the cosmic world) and“jianzhongsheng”(seeing the mundane crowd). Such dialectic not only encompasses a plethora of affective penumbrae associated with beidao (melancholia) but even goes so far as to constitute a sympathetic structure of feeling that partakes of a Buddhist consciousness, namely cibei (mercy). To further tease out how it gets intertwined with the (tragic) narrative of the film, I proceed to examine Aristotle’s theory of tragic pathos and aesthetics, juxtaposing his notion of sympathy with its counterpart in the tradition of Chinese reticent aesthetics, namely chingjing jiaorong (harmonious merging of feeling and surrounding). I conclude the paper by visiting the two shots of the old Buddhist temple that marks the beginning and end of Gong-er’s vows to revenge her father. By pointing out how affect, scenes and penumbrae are indistinguishably blended through a series of (scenery) shots comprising the close-ups of things and people, I concur with her way of conveying the ethics of“seeing the cosmic world,”as it is deeply informed by the characteristics of the above-mentioned queer“in-betweenness.”