姚肇崧《天醉樓填詞圖》諸題詠及其對姚氏詞學思想之抉發

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 姚肇崧（1872—1963）爲“清季四大家”王鵬運之姪婿。早年“學於鶩翁”，中年“游於漚尹”，學詞深受王鵬運、朱祖謀二人影響。存詞六百餘闋，大抵多爲中歲以後所作。年逾六十，徵請數名當代畫家繪 21 幀《天醉樓填詞圖》，並自題填詞圖、遍請海内名士爲之題詠，其中不乏西泠印社與漚社社友之作，足以顯見姚肇崧在清末民初的社交網絡與詞壇地位。姚肇崧由早年不擅倚聲，至中歲以後專力填詞；師從王鵬運，乃至學於朱祖謀，成爲漚社領導者，皆一定程度反映了他在詞學思想上的轉變。本文以姚肇崧《天醉樓填詞圖》爲中心，試圖透過圖畫、自題與他題，探究圖畫的創作旨趣，並觀看其友人如何緣承“填詞圖”的文學傳統、藉由對姚肇崧《天醉樓填詞圖》的題詠標榜其師承及詞壇定位，甚至更進一步從中建構出姚肇崧的詞學思想。 Yao Zhaosong (1872-1963) was the nephew-in-law of Wang Pengyun (1840-1904), one of the “Four Great Masters of the Late Qing Dynasty.” Yao was mentored by Wang in his adolescence, and sat at the feet of Zhu Zumou (1857-1931) in middle age. These backgrounds explain why his ci-poetry was under the profound influence of the two masters. Yao wrote most of his 600-odd extant works during and after middle age. After turning 60, Yao invited several painters to create a total of 21 works entitled Paintings of the Tianzui Studio. In addition to his own inscriptions on these paintings, he also invited prominent scholars to inscribe words in prose and verse. Some of these scholars were members of the Xiling Seal Art Society and the Gull Society. These indicate Yao’s good social connections and renowned status among ci-poets in the late Qing and early Republic periods. The developments and changes in Yao’s ci-poetic thought may be reflected in different stages of his life: he neglected composing ci-poetry when he was young but devoted himself entirely to it after middle age after learning from Wang Pengyun and Zhu Zumou, and eventually became a leading member of the Gull Society. Centering on Paintings of the Tianzui Studio, this paper attempts to investigate the motive and theme of these paintings by looking into them, their inscriptions by Yao, and those by others. It also explores the poetic thought of Yao through a discussion of the importance of the inscriptions, the sources of his scholarship, and the status of these paintings and poems in the poetic arena of the time.