(宋代「武夷棹歌」中的地景空間與文化意蘊) = Landscape and culture in the Wu-yi Zhao Ge (Wu-yi boat song) of Song dynasty
衣若芬 I, Lo-fen
Date of Issue2012
School of Humanities and Social Sciences
福建省武夷山為中國東南名山，《史記．封禪書》有祭祀武夷君用乾魚的記載，一般認為武夷君即彭祖籛鏗之二子，長為「武」，次為「夷」，職掌兵死。武夷山被道教奉為三十六洞天之第十六洞天；隋唐之際，佛教傳入，武夷山也成為佛教聖地。西元1183年，理學家朱熹(1130-1200)在武夷山建「武夷精舍」，於此講學著述十餘年，培育後進，受業者達二百多人，故而有「當今道在武夷」，譽武夷山為「道南理窟」。朱熹歌詠武夷山的詩文中，作於1184年的〈淳熙甲辰中春精舍閒居戲作武夷棹歌十首呈諸同遊相與一笑〉(簡稱〈武夷棹歌〉)模仿棹歌的形式，賦詠了武夷山九曲溪的景致。朱熹之後，辛棄疾、歐陽光祖、方岳等人都寫過〈武夷棹歌〉。〈武夷棹歌〉依序吟詠武夷山九曲溪之各曲風光，本文擬分析宋代「武夷棹歌」中對九曲溪的描繪，以及富含神話傳說、民間故事和理學家思維的文化意涵。Wu-yi is a famous mountain located in the southern part of China. There is a record shown in the “Shi Ji.Feng Chan Shu” using dried fish as an offering to Wu-yi Jun( Gods of Wu-yi mountain). People believed that the Wu-yi Jun were Peng Zu Qian Keng’s two sons: the first son being “Wu” while the second son was “Yi”; and that both of them took charge in military and death related issues. The Taoist revered Wu-yi Mountain and believed it to be the “Sixteenth Dong Tian”. During the Sui and Tang dynasties, Wu-yi Mountain was regarded as the holy land of Buddhism as well. In 1183, Neo-Confucianist Zhu Xi (1130-1200) built a villa in Wu-yi mountain and called it “Wu-yi Jing She”. He conducted lectures and provided enriching thinking to his followers for more than ten years, which has subsequently benefitted more than two hundred students. In 1184, Zhu Xi composed the “Wu-yi Nine Bends” to express his appreciation for Wu-yi mountains and scenery. There were other poets after Zhu Xi who wrote about “Wu-yi Boating Songs”, some of them include Xin Qi Ji, Ou Yang Guang Zu and Fang Yu. According to the contents in “Wu-yi Boating Songs”, they describe the beauty of “Wu-yi Nine Bends”. This paper aims to analyze how “Wu-yi Boating Songs” in the Song Dynasty were used to describe the “Wu-yi Nine Bends”, as well as the myths, folk tales and the cultural implication of the Neo-Confucian thinking in “Wu-yi Boating Songs”.
Dong Hwa journal of humanities (東華人文學報)
© 2012 Dong Hwa Journal of Humanities. This is the author created version of a work that has been peer reviewed and accepted for publication by Dong Hwa Journal of Humanities, Dong Hwa Journal of Humanities. It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document. The published version is available at: [http://ir.ndhu.edu.tw/simple-search?query=%E5%AE%8B%E4%BB%A3%E3%80%8C%E6%AD%A6%E5%A4%B7%E6%A3%B9%E6%AD%8C%E3%80%8D%E4%B8%AD%E7%9A%84%E5%9C%B0%E6%99%AF%E7%A9%BA%E9%96%93%E8%88%87%E6%96%87%E5%8C%96%E6%84%8F%E8%98%8A&query0=%E5%AE%8B%E4%BB%A3%E3%80%8C%E6%AD%A6%E5%A4%B7%E6%A3%B9%E6%AD%8C%E3%80%8D%E4%B8%AD%E7%9A%84%E5%9C%B0%E6%99%AF%E7%A9%BA%E9%96%93%E8%88%87%E6%96%87%E5%8C%96%E6%84%8F%E8%98%8A&newsubmit=1].