鏡裏花間———試論《花間集》的鏡書寫

Mirrors Among the Flowers: An Analysis of the Writing on Mirrors in Huajian ji

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文以先秦至唐五代銅鏡發展爲依據，考述《花間集》中鈿鏡、鸞鏡、有柄鏡、菱花鏡，以及鏡匣、鏡奩、鏡臺等週邊器物，對於向來不易確解的詞句提出具實物背景的解讀，從而使詞作脈絡、詞中場景獲得更爲清晰的梳理與呈現。以此爲基礎，透過鏡的文化與文學意涵，對照詩歌傳統中的鏡書寫，亦得以凸顯《花間集》中與鏡相關詞作的特殊表現與深層内藴。異於詩人的各言其志與寫實風格，對鏡感傷壯志消磨、紅顔易老，或描寫眼前如鏡晶瑩的水月風光，詞人隱身詞境之外，以如鏡之照影的手法，如“實”映現鏡花水月般未必真實存在的人事物，比如對鏡理妝或掩鏡無語的閨閣女子、虚擬遠隔的樂園與歷史場景等，而於精致如鏡的詞境中藴含深情妙理，在冷落中猶自好修、在困境中夢想飛越，以及樂園的探尋、殷鑑的徒勞、愛與美的救贖等，可謂於幻境中披露真實，於轉瞬消逝的時空中鏤刻永恒。

This paper studies a variety of Chinese bronze mirrors mentioned in the Huajian ji (Collection from Among the Flowers). These mirrors are of different designs, such as mirrors inlaid with mother-of-pearl, mirrors with carved legendary birds, mirrors with handles, mirrors with carved petal-shaped octofoils. The paper also discusses relevant peripheral items including mirror cases, mirror chests, and mirror stands. It will start with the development and history of bronze mirrors from the pre-Qin to Tang and Five dynasties. In this way, we can interpret those words that have always been vague and ambiguous by utilizing the background knowledge about the physical objects mentioned above. As a result, the backgrounds and contexts of the relevant works in the Huajian ji can be clearly sorted and presented. Next, by comparing the cultural and literary meaning of mirrors with the writing of mirrors in the poetic tradition, the special expression and inner connotation of Ci-poems related to mirrors in the Huajian ji can be highlighted. In traditional poetry, poets mostly describe a real situation, such as unfulfilled ambition and weakening willpower; sentimental feelings when facing a mirror and being saddened by diminishing beauty and youth; and the depiction of the mirage of untouchable flowers and moons reflected on the mirror. On the other hand, Ci poets of the Huajian ji use the method of mirroring to represent interactions involving mirrors to reflect people, objects and scenes that may not necessarily exist. They include, for example: a lady in the boudoir making up in front of the mirror or covering her mirror speechlessly; an illusory paradise or historical scenes; expressing their will to overcome obstacles, to cultivate themselves, to search for paradise and salvation of love and beauty; and also the disappointment of failing to learn from history. In conclusion, such exquisite and delicate mirror-like illusions allow us to visualize the Ci poets’ affection, beliefs, and the truth they wished to deliver.