| Abstract: | 名著《粹的構造》的核心為戀愛論。哲學家九鬼周造(1888?1941）以歐洲的哲學為基礎，?斷歌舞伎、清元、浮世繪、文?等等藝術各層面，由日本民族獨自的美的理念—— 「粹」的現象、構造及表現中，明快地掌握其特性為：「對異性的媚態」、「江?文化的氣性」、「制約與恬淡間的美意識」。九鬼斷言「<粹>代表著超越「戀」的束縛，必須超越至處於自由的花心狀態」，並嘲笑結婚這種束縛的制度。「粹」（??，iki）是日本美學意識的獨特感受，九鬼以江戶末期深川藝者的特質為本，勾勒出粹的理想，就是「脫俗的、堅持的、媚態的」三種特質，強調這是大和民族存在樣態的一種自我主張。九鬼周造寫《粹的構造》（1930 年），一方面是他多年來的「沉思默想」，一方面受海德格「解釋學」的啟發，他自己認為，儘管經驗和思考的是日本藝術的東亞本質，他在此書卻嘗試用歐洲柏格森Bergson, Henri (1859-1941) 與胡塞爾、海德格《存在與時間》的概念系統，得自於海德格的解釋學因素啟發，「以某種方式更鮮明的解讀揭示『粹』的意涵。此名著不單是西洋哲學、文學、藝術；九鬼連江?時代的風俗、服裝、文學的「好色文學」文本的實例等都交錯引用。中譯本譯注大量使用好色文化的文本註釋，以及江戶文化浮世繪等藝術豊富的圖示等。相關研究者可以對西洋現象學哲學領域，與日本好色文化藝術理念的結合解釋的落實，一窺其堂奧。
The center idea of the Japanese classic, The Strucutre of “iki,” is the theory of amour. With European philosophy as the foundation, Kuki syūzō (1888-1941), a Japanese philosopher, further draws on the art of Kabuki, the tune of kiyomoto (the background music played during Kabuki’s performance), the ukiyoe (the pictures of the floating world), the mon’you (a design pattern, frequently using geometric shapes or abstracted images of nature or man-made objects) and etc., to define the concept of “iki.” Mastering the conception, the structure, and the representation of “iki,” a unique Japanese aesthetic ideal, Kuki syūzō concludes that the features of “iki” include “the seductive gestures shown in the presence of the opposite sex,” “the temperament of the age of Edo,” and “the aesthetic awareness during the moments of restraint and restfulness.” Kuki syūzō asserts that “iki” refers to a liberal, romantic status, transcending the restraint of love, and mocks the constraining system of marriage. “Iki” is a distinctive feel in Japanese aesthetics. Based on the characteristics of geisya of Fukagawa during the end of the age of Edo, Kuki syūzō delineates his ideal of “iki” – refined, persistent, and coquettish – which he believes is a form of self-assertion in the Yamato way of existence. Kuki syūzō’s The Structure of “iki,” published in 1930, is not only the result of his many year meditation but also a work inspired by Martin Heideggar’s hermeneutics. Kuki syūzō indicates that despite that the experience and thinking are among the essential east-Asian qualities of Japanese art, his work aims to incorporate the ideas and theories of various European thinkers, such as Henri Bergson (1859-1941), Edward Husserl, (1859-1938), and Martin Heideggar in Being and Time. Particularly inspired by Heideggar’s hermeneutics, he attempts to interpret the notion of “iki” through a more lucid perspective. Western philosophy, literature and art are not the only concerns of this Japanese classic. Kuki syūzō also made cross-references to customs and costumes in the age of Edo and examples in “literature of lechery.” A large number of original footnotes in the literary texts influenced by the lecherous culture and plentiful illustrations in the ukiyoe of Edo culture could be found in the notes of translation in the Chinese translation of the book. Researchers working on related fields of study would find the book a successful integration of phenomenon in Western philosophy and artistic ideas in Japanese culture of lechery. |
