宋诗之“工夫”——“意”和“语”的表现力

The Artistry and Praxes in Song Poetics:The Sophisticated Expressiveness between Perception and Words

“工夫”论是宋诗一大特征。透过“工夫”论(以及与其形影不离的“境界”论)的建构,宋诗彰显了它与唐诗不止在美学,甚至在艺术组构和实作上,皆足以自成一家的典范。宋诗首要以“诗中有法”“句中有眼”等认知彰显了相关的课题,并建构起所谓“工夫”的实质内涵;而在诗人以这等“法”与“眼”等文字工夫的经营提升了宋诗的表现力之后,更在这等眼界下(在诗歌为文字经营的专门之学下创造笼罩全篇的表现力),宋诗进一步扩充其艺术性,精炼“意”与“语”,重视“炼意”,强调掌握全局“熔铸”全篇的文字经营,以致推升了更深刻而全面的“工夫”思维与作为。本文将结合诗论与代表性的作品作“法”探讨:在宋代重“文”重“道”的氛围下,在宋人“诗歌自为一专门之学”的认知下,如何看待并且具体实现诗歌技艺性的这一面。

This article would explore the discourse and application of“Guong Fu”(工夫Artistry and Praxes)in Song Poetics.Through the expert speech and demonstration of the presentative works,it would explain how Song poets in such atmosphere of“Dao”(道Logos)and perspective of elite literature promoted the artistic expressiveness by their cognition of“Fa”and“Yian”(“法”与“眼”the key workings for the lines),and furthermore,by their very sophisticated practice of“Yi”and“Yu”(“意”和“语”perception and words),how they created a profound and supreme horizon for Song Poetic artistry and praxes.