鑑賞 · 第 11 首 / 共 17

詠紹興蘭亭

The Orchid Pavilion, Shaoxing

尤求《蘭亭修禊圖》卷首至曲水流觴一段　明（16 世紀）　紙本水墨　美國明尼阿波利斯藝術博物館藏（2002.4.2） You Qiu (act. c. 1540–90), The Gathering at the Orchid Pavilion, the opening section, with the winding-stream gathering. Ming, 16th century. Handscroll, ink on paper. Minneapolis Institute of Art (2002.4.2). Public domain (artwork) / CC BY 4.0 (photograph), Wikimedia Commons

小序The Poet’s Preface

The Orchid Pavilion at Shaoxing is where, in the spring of 353, Wang Xizhi and his friends floated wine cups down a winding stream and wrote the verses that gave China its most revered work of calligraphy. Of the six arts of antiquity, calligraphy alone survives — and to those who love it, a moving brush is nothing less than the movement of the spirit itself.

I came in the spring of the Dingyou year (2017). Friends were tracing the old lineages of the brush, and I lost myself in the strange, exact names the calligraphers had left behind — entering the battle-array, the transference of feeling, the trace of a leaking roof. I lingered at the pavilion long after I meant to leave, unwilling to turn back from the grace of the ancients.

原詩The Poem

筆走龍應百壑風，無心入陣忘行蹤。移情山水何廣大，魔幻古今誰證明。如夢平生覺未醒，似真來世隱還興。驀然回首尋歸路，不見森林千萬重。

作者英譯The Poet’s Own Translation

The brush flies—a dragon answering wind through a hundred ravines;without design it enters the ranks, leaving no track behind.Feeling passes into mountain and water and opens without bound;what spell joins then to now, and who could prove it?My whole life seems a dream I know, yet cannot wake from;another life seems almost true—hidden, then stirring.I turn suddenly, searching for the way home:no path, only forests, ten thousand deep.

註釋Annotation

蘭亭紹興名勝，與王羲之及《蘭亭集序》相聯。
入陣借書論中以行軍布陣比擬用筆的說法。
移情在此指情意融入筆墨與山水之中。
屋漏痕見於作者小序，為書論中形容自然、含蓄筆跡的比喻。

鑑賞Appreciation

筆勢、山風與心念在詩中相互應答，書寫也逐漸成為忘卻自身的經驗。後半由古今難辨轉向夢醒之間，回首尋路時，熟悉的界線已不清楚。詩沒有替這種恍惚作解釋，而讓最後的森林意象保留它的幽深。

Brushwork, wind and inward movement answer one another until writing becomes an experience of losing the self. The latter half passes between past and present, dream and waking. When the speaker looks for a way back, familiar boundaries have become uncertain. Rather than explain the experience, the poem lets its final image of the forest retain that uncertainty and depth.