仙鄉、淨土、山水——論三組齊梁詩的詠物模式與空間書寫

Wonderland, Paradise, Landscape: Regarding the Depictions of Space and the Chanting of Objects in Three Poems from the Chi-Liang Dynasties

論及六朝文學，所謂的「體物」、「詠物」或「感物」乃此時代的重要課題。首先六朝出現大量的詠物之作，且就連非詠物詩，如齊梁時期的永明體或宮體，也大量運用了詠物的技術。本文從詠物此一寫作模式出發，透過三組齊梁詩歌——沈約、劉繪的〈博山香爐詩〉；蕭綱與其僚臣的〈望同泰寺浮圖詩〉；以及庾信的〈詠畫屏風詩〉，論其與過去同題材之差異，以及這樣的詩歌如何透過詠物本身，建構出不同於傳統的新體裁。我們可以發現，「博山香爐」描摹的是香爐鐫刻的道教仙鄉；「同泰寺浮圖」則藉著眺望佛寺而遙想佛教淨土；「畫屏風」則呈現了江南山水、塞外風光以至於宮體閨怨的結合。透過這三組詩，以及詩中描繪之器物與其間的疊加空間，我們可以觀察出齊梁這些詩人，他們對物的敘述與想像之技術，以及他們心靈所嚮往的空間與圖景。

In scholarly discussions of the literature of the Six Dynasties, the notions of “Describing Objects”, “Chanting Objects”, and“ Feeling Objects” are significant topics in this era. A large number of object-chanting works were created during this time, and even non object-chanting poems, like the Yongming and Gong-Ti poetry made during the Qi and Liang dynasties, made use of object-chanting techniques. This article analyzes three different poems: Shen Yue and Liu Hui’s ‘The Incense Cauldron of Boshan’（博山香爐詩）, Xiao Gang and his ministers‘ ’Gazing Afar at Tongtai Temple’ （望同泰寺浮圖詩）,and Yu Xin’s ‘Painted Screen’（畫屏風詩). It does so in order to not only articulate how these works differ from poems of the past which share similar themes, but indeed how they turned to the technique of “chanting objects” in order to create a new poetic form that differed from the received tradition. ‘The Incense Cauldron of Boshan ’describes the image of a Daoist celestial wonderland engraved on the side of an incense cauldron, while‘ Gazing Afar at Tongtai Temple ’casts a reflective gaze at temple architecture in order to imagine a land of Buddhist purity. ’Painted Screen,’ meanwhile, displays a syncretic integration of the following elements: mountains and rivers imagery from Jiangnan, the desolate vestiges of the northern-frontier, and the mournful lamentations of Gong-ti poetry. Through an analysis of these three poems, particularly the objects and overlaid spaces described therein, we can observe the imaginative and descriptive techniques these Qi Liang poets employed, and the spaces and vistas they yearned for within their hearts.