• 2024 年 6 月 10 日 下午 4:48

衣若芬 I LOFEN

天地大美.人文長青.衣若芬陪你一起悠遊 Discover Endless Beauty, Nurture Timeless Humanity, Wonder Alongside I Lo-fen

印刷出版與朝鮮「武夷九曲」文化意象的「理學化」建構

Bylofen

10 月 19, 2015

石守謙、廖肇亨主編:《轉接與跨界──東亞文化意象之傳佈》(臺北:允晨出版社,2015年6月),頁351-388

福建武夷山向以「三三秀水」、「六六奇峰」美景聞名,「三三秀水」指的便是因大王峰、玉女峰等三十六座奇峰而蜿蜒迴轉的九曲溪。西元1184年,即朱熹(1130- 1200)在九曲溪第五曲處建「武夷精舍」講學後一年,朱熹與友人遊武夷九曲溪,仿照民間船歌的形式,作〈淳熙甲辰中春精舍閒居戲作武夷櫂歌十首呈諸同遊相與一笑〉(本文簡稱〈武夷櫂歌〉Wu-yi Boating song)。朱熹的〈武夷櫂歌〉共十首,第一首為序曲,其後依一曲、二曲的順序,分別歌詠九曲溪各曲的風光景致。
隨著朱熹著作東傳韓國,「武夷九曲」文化意象也流入韓國。本文以朝鮮理學家李退溪為例,觀察李退溪對「武夷九曲」的知識來源。
作者發現:李退溪對出版元代陳普註解朱熹〈武夷櫂歌〉的推助之功。陳普的註解,引發朝鮮儒者的討論,焦點正是朱熹〈武夷櫂歌〉是否如陳普所認為的──「純是一條進道次序」,也就是「武夷九曲」的理學內涵。朝鮮儒者的辯析,到了正祖(1752-1800)編選朱子詩《雅誦》時被官方定調,可視為「理學化」的完成。

Printing Publication and the “Wu-yi Nine Gorges” Culture Images related with Neo-Confucianism in Joseon Dynasty Korea
The Wuyi Mountains are a mountain range located in the Fujian province of China. It is well-known for its tranquil beauty and natural splendour. The Nine Bend River (Jiuqu xi) meanders amongst thirty-six peaks in Wuyi Mountains, like Dawang Peak and Yunu Peak.
In 1184, one year after Neo-Confucianist Zhu Xi (1130 – 1200) established Villa Wuyi at the fifth bend for teaching and lectures, Zhu Xi together with his friends, toured the Nine Bend River. Inspired by the songs sang by the boating folks, he composed “Chunxi Jiachen Zhongchun Jingshe Xianju Xizuo Wuyi Zhaoge Shishou Chengtong Zhutong Youxiang Yuyixiao” (This article refers to this work as “Wuyi Jiuqu”) in tribute to the magnificence of the Wuyi Mountains. There are ten pieces of music compositions in Zhu Xi’s work. This work starts off with the prelude; subsequently, the pieces praise the picturesque scenery of each bend according to the ascending number of the bend respectively.
When Zhu Xi’s work reached Joseon Korea, Jiuqu cultural ideologies also spread eastwards into Joseon. This article is a case study of Neo-Confucianist Li Tuixi and traces the paths of his knowledge sources of Wuyi Jiuqu. Li Tuixi is exalted as a master in Neo-Confucianism.  
The study reveals that Li Tuixi was a powerful advocate for the publication of Chen Pu’s commentaries on Zhu Xi’s Wuyi Jiuqu. Chen Jin’s commentaries triggered a discussion amongst Joseon Neo-confucian scholars. The main crux of the discussion is Chen Pu’s interpretation of “Wuyi Boating Song” as “progression” being the spiritual essence or spiritual foundation of Neo-Confucianism. The analysis of Joseon Neo-Confucianists was officially adopted during King Zheng’s reign (1752 – 1800) at the compilation of Zhu Zi’s poetry and proses. One may view this significance as the completion of rationalism.   
     

By lofen