園林圖文的超越性特質對幻化悲傷的療養──以明人文集的呈現為主

Abstract

中國園林發展至宋代臻於鼎盛，大量的園林在宋代被興建修造，大量的園林曾經繁榮興盛，但也在漫漫的歷史長河中逐漸衰敗荒廢，終而消逝無蹤。因此到了明代，為數眾多的廢園就出現在歷史的片段中。在明代文人的園林書寫中，可以看到很多的廢園題材，文人們感慨園林的變易幻化，牽動了人事無常、生命短暫的悲傷。這種悲傷在心理學尤其是存在心理治療學中被認為是一切焦慮的根源，也是在防衛機轉（逃避）驅動後容易產生心理疾病的根源。但是明代文人卻能正視並注意它，以開放型態的生命系統來面對這個亙古不變的憂傷事實。他們在園林圖畫與園林詩文的創作中發現一些超越性的特質，足以彌補園林幻化的缺憾，從而對治了也轉化了幻化的悲傷。本論文共分為五個部分：一、前言，依循歷史發展的軌則，說明中國園林在明代產生大量荒敗幻化現象的必然性。二、呈現明人文集中為數眾多的書寫園林幻化的現象，並分析園林幻化的兩大原因。三、析論明人如何運用園林圖畫的超越性特質來對治園林幻化的悲傷。四、析論明人如何運用園林詩文的超越性特質來對治園林幻化的悲傷。五、從園林──圖畫──詩文──序記的創作次序，分析「圖畫／園林」、「詩文／園主」的對應性治療關係，以說明一連串園林藝術創作背後隱藏的園林主人對於園林與個人生命精神永存的不同希冀。

The development of Chinese gardens has reached a climax in the Sung Dynasty, so that an enormous number of gardens were built in that prosperous period. However, after that the glory has gradually dimmed, eventually turning into ashes in the historical course. Therefore, in the Ming Dynasty a remarkable number of forsaken gardens could be seen in relics. In the works of the Ming Dynasty’s literary men, they more often than not used imagery of a forsaken garden as a motif to depict the ever-changing, transient, sad aspects of human lives. Actually, in terms of psychology, this kind of sadness can be seen as a root of anxiety of which the so-called defensive escape could lead to psychological illnesses. The writers of the Ming Dynasty, nonetheless, could brace themselves for the nostalgic sadness, opening themselves to the ever-lasting sadness. They picked up some transcendental natures in their creative works of the forsaken gardens. These findings could serve to heal the hallucinatory sadness. This thesis can be divided into five main parts: 1. Introduction. According to the philosophy of historical development, the author explains the inevitable nature of how Chinese gardens were largely ruined in the Ming Dynasty. 2. The author shows how the literati of the Ming Dynasty used an enormous amount of Chinese garden materials to illustrate the hallucinatory sadness, and the author also analyze the two main reasons causing the decline of Chinese gardens. 3. The author explains how literary men in that period made most of the transcendental nature of the pictures of the Chinese gardens to heal the hallucinatory sadness. 4. The author points out how writers in the Ming Dynasty took advantage of the transcendental nature of the writings of the Chinese gardens to heal the hallucinatory nostalgic sadness. 5. In the sequence of Chinese gardens, pictures, pomes and writings combined, and preface, the author analyze how the relations of “pictures/gardens,”“poems/gardener” operated to produce a healing effect in an attempt to illustrate how a series of garden-related creative works covered the respective wishes of hosts towards the gardens as well as his personal permanent soul.