瀟湘八景：東亞共同母題的文化意象

Abstract

狹義的「瀟湘」，指流經中國湖南的瀟水和湘江。廣義的「瀟湘」，可泛稱整個中國湖南。從莊子和屈原開始，書寫「瀟湘」的作品凝聚了豐富的瀟湘文化底蘊。大約從唐代起，有瀟湘山水畫創作。北宋文人畫家宋迪以瀟湘的八個景致為題材，繪製〈瀟湘八景圖〉，成為東亞「瀟湘八景」詩畫的濫觴。十二世紀出使宋朝的高麗畫家在朝廷畫院學習了「瀟湘八景」詩畫。十三世紀東渡日本的僧人傳入「瀟湘八景」詩畫。古代越南使臣出使中國的陸路途徑則會經過湖南境內。「瀟湘八景」是東亞諸國共同的詩畫抒情母題，通過「瀟湘八景」的文化意象，可以探析東亞的審美意趣。本文概述「瀟湘八景」的源起，以及在中國、韓國、日本、越南的歷史發展情形，歸納出中國的「離憂愁緒」、韓國的「嚮往樂土」、日本的「幽玄禪思」、越南的「異域懷歸」，各具特色的藝術表現。

＂Xiao-Xiang＂ refers to the Xiao River and Xiang River that flows through Hunan area. Since Zhuangzi and Qu Yuan, literary creations on Xiao-Xiang have developed into a cultural image, and landscape paintings on Xiao-Xiang have also developed from Tang dynasty. Northern Song dynasty painter Song Di illustrated ＂Eight Views of Xiao-Xiang＂, which initiated the poetry and painting creations on Xiao-Xiang in East Asia. 12^(th) century, Goryeo ambassador painters have learned poetry and painting creations on Xiao-Xiang in the Song court. 13th century, monks travelled to Japan also brought in poetry and painting works on Xiao- Xiang. The over land route of Ancient Vietnamese envoys also went through Hunan province. ＂Eight views of Xiao-Xiang＂ is a shared poetry and lyrical motif among East Asian countries. Hence, studying the cultural image of Xiao-Xiang will allow analysis of aesthetic consciousness of East Asian countries. This paper summarizes the origins of ＂Eight View of Xiao-Xiang＂, as well as their historical development in China, Korea, Japan and Vietnam, each with their distinguishing characteristics.