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第六章「結論：風景詩學的意義」，針對上述三章的分析作綜合論述，從場 所、身體感知、思想、想像力之間的交織關係，以說明唐代園林風景詩學的研 究意義。
關鍵字：風景體驗、身體、場所、山水園林、郡縣齋、城市私園
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Abstract
Taking the garden poetry in the Tang dynasty as the research object, this dissertation scrutinizes Tang people’s landscape experiences in gardens, i.e.
investigates from the perspective of experience the meaning of Tang people’s writings about garden landscapes. This dissertation defines the landscape descriptions in poetic works as the poets’ dynamic experiences in nature. They are the product of the mutual interweavement and containing between the body subject of the poets and the natural world, and the poetic words are the embodiment of poets’ bodily existence
experiences. In landscape experiences, perception plays the primary role. The
differences in poets’ perception methods determine the distinctions in their landscape experiences. The “habitual body” similarly exerts an important influence on the presentation of the landscape experiences. The differences in cultures and personal life processes that different poets have acquired in the past are accumulated in the
“habitual body.” They affect the differences in the poet’s bodily perceptions of the landscapes at the moments and determine the divergences among the landscapes they experience. Moreover, the places where the poets are located also affect their
landscape experiences. Different places can lead to dissimilar landscape experiences in which the body and the environment are intertwined. Considering that the Tang dynasty is the era of garden culture’s prosperity, this dissertation chooses to take the garden places as the core and explore Tang people’s landscape experiences in them.
The text is divided into 6 chapters:
Chapter 1 “Introduction” states the research background and purpose of this dissertation. It borrows the idea of physical phenomenology to define the connotations of “landscape experience,” further locks the place of experience onto the garden, and decides the research scope on three types of gardens: mountain-water gardens, prefecture and county governments, and urban private gardens. It also reviews the research results of related topics in the academic circles to display the investigation this dissertation conducts on the basis of the previous research results.
Chapter 2 is “An Investigation of the Connotations of ‘Landscape.’” In view of the fact that Ogawa Tamaki’s “Meaning of Landscape” enriches our understanding of the connotations of the word “landscape” in classical literature, this dissertation stands on the basis of this article, further examines the meanings of the word “landscape”
from the Six Dynasties to the Tang dynasty, and pays attention to the perceptual experiences the poets present when using the word “landscape.” It points out that in
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the Six Dynasty period, the term “landscape” refers to the landscape and the atmosphere that the poet perceives in nature. When it turns to high Tang dynasty, Wang Chang-Ling specifies in The Principles of Poetry that the “scenic words” in poetry should not only reflect the writer’s true perceptual experience in natural places but also notice that the “landscape” in a “scenic word” merges personal landscape experiences in the past, cultural perceptual modes acquired through accumulation of poetry reading experiences, and space fields created by imagination. Since middle Tang dynasty, the literati have believed that poetry can create a world, which changes their physical perceptions in their walking into the nature and experiencing the landscape. While they perceive the surrounding landscapes with the “present body,”
they also chant and conceive verses. Through chanting activities, they summon past landscape experiences as well as the perceptual experiences acquired through reading texts of poems by predecessors and accumulated in the “habitual body.” They run their imagination to combine the scene perceived at the moment with past experiences and transform them into a “poetic landscape” that can express the world of personal existence.
Chapter 3 “Landscape Experiences in Mountain-Water Gardens” takes Wang Wei as the main research object and investigates his landscape experiences in Wangchuan Villa. It explains that the reason why Wangchuan Villa can become the harbor of Wang Wei’s spiritual life. It is because the villa is located in the valley of Wangchuan and Wang’s worries in the officialdom are resolved by the place spirit consisting of mountains, waters, fields, and Buddhist temples and by simple interactions between Wang Wei and villagers and monks. Then, by clarifying the picture of Buddhism history in Wang Wei’s times, we place Wang Wei’s Zen cultivation in the context of high Tang dynasty when Northern Zen Buddhism flourishes. We point out that his life in the mountains of Wangchuan is deeply influenced by the Northern Zen Buddhist cultivation of guarding the true heart and observing the mind. Through repeatedly dissolving greed, hatred, and ignorance, he breaks the self and the attachment to the self and presents the tathata mind of “nirvana” and “silence.” The landscapes in many of his poems demonstrate that the poet uses the tathata mind to truthfully observe his activity changes in each moment when his senses and consciousness perceive the landscape. They also show how the various changes in the mountain-water world function together at every moment of cause and condition, constitute the scene that the poet has experienced, and thus prove the wisdom of “prajna-sunyata” through experience.
Chapter 4 “Landscape Experiences in Prefecture and County Governments” traces
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the parts that involve landscape experience in prefecture-government poem writings established by poets from the Six Dynasties to early and middle Tang dynasty. It indicates that their perception of the local customs, their feelings in touring in the gardens and appreciating the landscapes, and their “official recluse” consciousness produced by the quiet atmosphere in the garden are deepened and developed by Wei Ying-Wu, Bai Ju-Yi, and Yao He during middle Tang dynasty. In terms of perception of the customs, Xie Tiao takes the window as the framework and emphasizes grasping the landscape outside the window by focusing near or far with sight. In contrast, Wei Ying-Wu highlights perceiving scenes with the method of shifting from sight to hearing and touch, revealing that the barren hills and cold rains of local environments moisten the world the poet lives in and infiltrate the loneliness in the poet’s mind.
After Wei Ying-Wu, Bai Ju-Yi presents more abundantly the differences in customs he experiences in Jiangzhou, Zhongzhou, Hangzhou, and Suzhou. Contrarily, Yao He’s presentation of the county government mainly fastens to the relationship between his lonely state of mind and the local desolate scenes. As for garden touring, all the three poets use landscaping and touring activities to make the garden atmosphere arouse their imaginations, to transform the garden space into a larger mountain world and thus experience the “official recluse” state of mind, and to reorganize their
relationships with the gardens so as to gain a sense turning from “leisurely” to
“comfortable.”
Chapter 5 “Landscape Experiences in Urban Private Gardens” regards Meng Jiao, Jia Dao, and Bai Ju-Yi as the representatives of urban private gardens. Due to Meng Jiao’s and Jia Dao’s low social statuses and financial resources as impoverished scholars, the landscapes they experience in the gardens are not comfortable feelings.
They interlace their impoverished, sick, and frustrated physical and mental feelings with the desolateness of the garden landscapes and chant about the desolate scenes to obtain high-spirited postures that lift life. As for Bai Ju-Yi, this dissertation refers to the lane wall system of the Tang dynasty on the basis of academic and archaeological investigations in order to explore how he builds the Practicing-the-Way Garden into a quiet and deep space. It further explores how Bai realizes his pursuit of the value of
“leisure” in the process of using the “leisurely” body to unfold landscape experiences, such as leisurely walking, leisurely lying, and leisurely boating, and attain a “leisurely world” that interweaves the garden landscape with physical satisfaction and mental comfort. Then it explains his affirmation of the destination of his late life from his intention to perform his own consciousness of garden touring experiences.
Chapter 6 “The Meaning of Landscape Poetics” has a comprehensive discussion
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on the analyses of the above three chapters from the intertwined relationship among place, physical perception, thought, and imagination, to expound the significance of the study on the landscape poetics of gardens in the Tang dynasty.
Keywords: landscape experience, body, place, mountain-water garden, prefecture and
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目 錄
第一章 緒論 ... 1
第一節 問題意識、研究背景及目的 ... 1
一、風景體驗與風景詩學 ... 1
二、園林作為體驗的場所 ... 13
三、山水園林、郡縣齋、城市私園 ... 19
第二節 文獻回顧與評述 ... 24
一、「風景」觀念相關研究 ... 25
二、園林文化 ... 32
三、山水詩、田園詩派 ... 36
四、隱逸主題 ... 39
第三節 研究方法 ... 41
一、研究範圍與進行方式 ... 41
二、研究方法 ... 44
第二章 「風景」意涵考察 ... 47
前言：反思「風景」一詞 ... 47
第一節 六朝「風」、「景」複合詞考察 ... 49
一、「風」、「景」本義 ... 49
二、六朝「風」、「景」複合詞之意涵 ... 51
第二節 唐代「風」、「景」複合詞發展 ... 63
一、初盛唐：風光氣象中的景象 ... 63
二、盛唐王昌齡《詩格》：「景語」概念深化 ... 68
三、中晚唐「詩景」：體驗風景與創造世界 ... 75
第三章 山水園林風景體驗 ... 85
前言 ... 85
第一節 王維之輞川莊 ... 86
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一、輞川場所精神：山水、田園、佛寺交織之世界 ... 89
二、禪寂真心的修養工夫 ... 92
三、《輞川集》：直照諸境之景 ... 102
第四章 郡縣齋風景體驗 ... 113
前言... 113
第一節 六朝的奠定：齋房作為體驗中心 ... 117
一、視覺遠近運動與情感變化 ... 117
二、齋房氣氛 ... 122
第二節 初盛唐的拓展：風土視野與園林氣氛 ... 124
一、納入風土視野 ... 124
二、園林氣氛 ... 126
第三節 大曆詩人韋應物：凸顯風土與建構「吏隱空間」 ... 131
一、風土感知與情感共振 ... 134
二、「吏隱空間」的建構 ... 141
（一）齋房：修養心神的體道空間 ... 142
（二）園景營造：逃遁塵世的山水世界 ... 144
（三）園林：遊園忘憂之場所 ... 147
第四節 元和詩人白居易的風土經驗與「吏隱空間」 ... 152
一、江州官舍：低濕湓地的寬慰空間 ... 153
二、忠州郡齋：霧雨深峽中的寬慰空間 ... 158
三、杭州郡齋：接連錢塘江的安適空間 ... 162
四、蘇州郡齋：水榭花院中的安適空間 ... 172
第五節 姚合的縣齋詩風景 ... 178
一、郡齋詩系譜下的縣齋詩 ... 180
（一）為官寥落與倦宦之情 ... 180
（二）「吏隱」生活圖景 ... 183
二、倦宦情感與「吏隱空間」之嬗變 ... 186
（一）倦宦之情：卑職的愁悶 ... 186
（二）以慵懶閑散創造「吏隱」生活 ... 190
（三）「吏隱空間」：化平凡為尖新之「詩景」 ... 195
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第五章 城市私園風景體驗 ... 203
前言... 203
第一節 孟郊的立德園 ... 206
一、山水絪縕與貧士精神 ... 208
二、侵凌身心之秋景 ... 213
第二節 賈島的樂遊原宅 ... 218
一、荒涼的園田世界 ... 220
二、寂寥之境 ... 224
第三節 白居易的履道園 ... 229
一、幽深空間的營造 ... 230
二、園景體驗：閑遊之身與園林的交織 ... 236
（一）閑行：深化地方感 ... 237
（二）坐臥：眼觀到耳聽的幽奇世界 ... 239
（三）舟遊：三重世界的轉換 ... 242
三、閑適之境 ... 245
四、有意展演的私人體驗 ... 249
第六章 結論：風景詩學的意義 ... 257
一、場所與身體感知的交織 ... 257
二、感知、思想與風景的交織 ... 262
三、風景體驗與存在空間的交涉 ... 265
四、知覺與想像力交織下的世界創造 ... 267
參考書目 ... 273
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第一章 緒論
第一節 問題意識、研究背景及目的
本文以唐代詩歌為研究對象，探討文人於園林中所展開的風景體驗
（experience），即從體驗之視角探究唐人書寫園林風景的意義。風景一詞是現 代漢語中常見的詞彙，從詞彙的角度來看，風景、景觀與地景三者是類似而可 互換的語詞，但三者卻指向不同的學科屬性，在藝術、美學方面，多採用風景 一詞；在建築、園藝、都市設計上，則多採用景觀一詞；在地理學、生態學方 面則以地景指稱大地形貌。1在文學研究的領域中，風景一詞是文學研究者分析 詩歌文本時，經常使用到的一個語彙，往往用以指稱文本中描寫到自然景物的 部分。但是，當我們進一步思考該如何理解詩歌中所呈現出的風景時？則可以 發現詩歌中的風景並不等同於大自然本身，風景亦非詩人對大自然的客觀再 現，更非與人主客對立的對象物，而是詩人在大自然中的生動體驗，風景此一 概念蘊含著人和大自然互動過程中的豐富關係性，由於此一豐富的關係性，是 以本文從體驗視角，探討唐人所書寫的園林風景。
以下我們將從「風景體驗」的內涵界定談起，以說明問題意識、研究背景 與目的。
一、風景體驗與風景詩學
本文從體驗的角度看待詩人們所書寫的風景，將文本中的風景界定為詩人 處身在大自然中的動態式體驗，是詩人的身體主體和大自然世界相互交織蘊含 之下的產物，並經由詩人的創作轉化能力以文字呈現於讀者面前。2
從體驗的角度看待詩歌中的風景，是因為就人的本質而言，藉由現象學家 海德格（Martin Heidegger）的觀點來看，人是在世界的存有者（Being-in-the-world），人總是存在於世界中，並理解這個世界，3當海德格將人的存有界定為
1 參見黃冠閔，〈風景：身體、空間、想像的交織〉，《中央研究院週報》第 1522 期（2015），頁 1。
2 本文對風景體驗的思考，受益於學者黃冠閔〈出入山水間：風景現象學的一條通道〉、〈風景 的建制及其問題〉二文。這兩篇文章中有一核心的概念，即他強調風景體驗奠基在人的身體 主體與場所的相互關係中，而此一思維方式則又源自於梅洛龐蒂的現象學，見《哲學與文 化》，第 39 卷第 11 期（2012.11），頁 41-56；以及《中正漢學研究》第 24 期（2014.12），頁 241-270。下節將針對此二文作闡述與對話。
3 參陳榮華，《海德格存有與時間闡釋》（臺北：臺大出版中心，2012），頁 38-44。
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Dasein（being-there）時，從人們發現自己的存在之際就已經在此（there）的空 間現象出發，存有與空間就必然聯繫在一起。4梅洛龐蒂（Maurice Merleau-Ponty）承接海德格的觀點，更進一步地指出人乃是以知覺與意識活動相互交織 而成的「身體主體」（body-subject）存在於世界之中，「身體主體」觀念的提
Dasein（being-there）時，從人們發現自己的存在之際就已經在此（there）的空 間現象出發，存有與空間就必然聯繫在一起。4梅洛龐蒂（Maurice Merleau-Ponty）承接海德格的觀點，更進一步地指出人乃是以知覺與意識活動相互交織 而成的「身體主體」（body-subject）存在於世界之中，「身體主體」觀念的提