其他篇名 Alternative Title
The evolution of the category of “yun” and the modern development of the “Shenyun theory”
摘要 Abstract
“韻”從最開始表示聲音和諧的“聲韻”，轉而在魏晉時衍化爲評論人物、繪畫、詩文的涵括性術語，並與其他限定詞組合形成複合型概念，逐漸成爲中國文藝批評的重要範疇。宋人對“韻”作了全面系统的闡釋，並將其提升爲文學藝術的最高境界。尤其是范温在《潛溪詩眼》中以“有餘意之謂韻”和“韻者美之極”爲思想核心，建構了“韻”範疇相對完整的體系。爰至清代，王士旗吸收前人如司空圖、嚴羽、陸時雍等人的詩學資源，高舉“神韻説”的旗幟，成爲“韻”範疇在近世展開的最重要、最有影響力的形態。“韻”所追求的“取之象外，得於言表”的審美理想，不僅見於古代中國，也廣泛存在於其他文化語境中，應被視爲人類審美的一種共同取向。
The term “yun” originally referred to the harmony of sounds. During the Wei and Jin periods, it evolved into an inclusive term for evaluating people, paintings, and literary works. It combined with other qualifiers to form composite concepts and gradually became an important category in Chinese literary criticism. Song Dynasty scholars systematically explained “yun” and elevated it to the highest realm of literary art. Fan Wen, in particular, built a relatively complete system of the category of “yun” in his “Qianxi Poetry Eyes” with “yun as the lingering/extra meaning” and “yun as the ultimate beauty” as his core concepts. From the Yuan Dynasty to the Qing Dynasty, Wang Shizhen absorbed the poetic resources of his predecessors like Sikong Tu, Yan Yu, Lu Shiyong and others, and held high the banner of “shenyun theory”, which became the most important and influential form of the development of the “yun” category in modern times. The aesthetic ideal pursued by “yun” involves deriving meaning from beyond the explicit words, and it is not only evident in ancient China but is also widely present in other cultural contexts. It can be regarded as a common aesthetic orientation of humanity more generally.
關鍵詞 Keywords
韻, 氣韻, 神韻説, 范温, 王士旗, “Yun” (ryhme, resonance), “Qiyun” (vital resonance), “Shenyun” (spirit resonance) theory, Fan Wen, Wang Shizhen
語言 Language
Chinese (Traditional)
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香港嶺南大學中文系(編)，上海古籍出版社(出版)
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參考書目格式 Recommended Citation
侯體健 (2024)。“韻”範疇的衍化脉絡與“神韻説”的近世展開。《嶺南學報》，復刊 第二十二輯，頁133-148。檢自 https://commons.ln.edu.hk/ljcs_new/vol22/iss1/8