李退溪《圣学十图》的诗性智慧与形象思维

Poetic Wisdom and Imaginal Thinking in T'oegye's "Ten Diagrams of Sage-Learning"

《圣学十图》是李退溪(名滉,1501-1570)68岁的作品,被视为完整表现其儒学思想的力作,也可说是其晚年定论。学者对此一作品十分重视,然研究重点多置于"圣学"内涵的探讨。文章从"图"的角度审视退溪作图说理所蕴藏的诗性智慧与形象思维,尝试以维科(Vico,1668-1744)、黑格尔(Hegel,1770-1831)、费尔巴哈(Feuerbach,1804-1872)、加达默尔(Gadamer,1900-2003)的理论为参照系,探索退溪作图的意义。"图"对退溪的圣学而言,并不是外在的形式,而是内在的、本质性的。就存有论的层面言,道本无形象,却寓于形象,道与形的关系值得深究;就工夫论的层面言,退溪所谓"因图致思"、"体玩警省于日用之际,心目之间",正是培养护持"敬"的重要工夫,故图与工夫论息息相关。退溪留下2000多首诗,其中有700首写于人生最后的十年,这十年同时也是其学问臻于成熟的时期,他更在68岁留下具备其思想完整体系的《圣学十图》。退溪在其思想成熟之期,如此富于诗情画意,不无深意,值得深入探讨。

This paper attempts to explore the poetic wisdom and imaginal thinking in T'oegye's 'Ten Diagrams of Sage-Learning'.For T'oegye,diagrams as formal elements in this Confucian work are not only external forms but convey inner meaning.T'oegye presented these diagrams by pictures and letters.The genres written in 'Ten Diagrams' are basically inscription and exhortation.The Chinese sages long ago recognized the necessity of keeping oneself admonished by carving sayings on his carriage and desks.The pithy phrase is required by these genres.T'oegye's literary presentations of 'Ten Diagrams' are explored in the paper.Furthermore,this paper tries to elucidate the imaginal thinking exercised in the formation of these ten diagrams.The usage of some particular Chinese calligraphy,the size and shape of some letters and the lines connecting those letters are significantly remarkable.These poetic and imaginal elements are profound and deserve close investigation.