水的聖域：兩晉江海賦的原型與象徵

Abstract

水自先秦以來即是國家祀典中祟祀的對象，而對水的崇拜與信仰，在先秦思想家抽象化的思考下，不僅暗喻了時空，也代表了本體與存在。魏晉以後，隨著晉室南渡、寓居江左的政局變遷，以及東晉玄學思潮之激發下，「江海」成為詩賦中經常出現的意象或主題。「書寫江海」也成為具有重要隱喻意涵的文化活動。本文採神話原型批評的研究視角，並結合伊利亞德的理論以探討兩晉江海賦中有關江海神話意象的運用及其象徵，以見其文學原型及文化心理意涵。兩晉的江海賦中之神山仙島以東方系統的蓬萊神山為文學原型，雜染仙道色彩，進而開展出「聖域」原型結構的多重映像。而江海「聖水」做為與「聖山」相對應的象徵性神聖空間，實具有「聖地」之性質，因此「江海」在以「水」為生命本原的符號上，它又是政治與王權的隱喻象徵。賦家對江海之頌美書寫，蘊藏了賦家宇宙觀及存在時空的哲學思考，同時亦潛隱了水生萬物的心理原型映射，以及「重新確認」家國集體意識的儀式意義。江海水世界做為跨文化的原型象徵，在兩晉賦家的反覆運用，以及程式化的書寫模式下，不僅是遠古神話世界在現實書寫文本中的想像重構，亦訴說著潛隱在人類心靈中，對此界與他界、個人與國族、人間秩序與宇宙秩序永恆存在的困境與超越。

This paper employs the archetypal criticism and Mirrea Eliade’s theories to discuss the mythical images and symbols, which are often used in the Jin dynasty literature, and attempts to show the meanings of literature archetypes and psychological contents in culture. Polng-lai island is the literature archetype of sacred mountains and islands in “river and sea Fu”, which also combines the Tao philosophy to describe the multiple images of sacred place. River and sea are the symbols of life and also the metaphors of the power of kingdom. Therefore, the eulogium of sacred waters contains the people’s philosophy thinking and reconfirms the identity of nation. The sacred water which has been a transcultural archetypal symbol, is not only the reconstruction of ancient mythical world but also represent the eternal conflicts and solution between our world and the other world, person and nation, principle of human world and of university.