| 摘要: | 在日本文學的研究領域裡，色彩與文學的關連性，色彩的意象表徵等議題，自伊原昭氏、前田雨城氏、上村六郎氏等學者之歷年研究而言，此類議題廣為學術界所關注探討。而本論文的研究主題，是就日本古代的色彩表現範疇，闡明古代日本人對於「awo (青)」「midori (綠)」兩色之色彩思維。
本稿論述之目的，是藉由考察日本古代的色彩表現，暨古代日本人之色彩觀點，理解文化進程中的色彩思惟變遷，知悉當代日本的色彩背景。同時，本論文是以日本平安時代前的文學作品，暨歷史文獻等資料為研究對象，採行文獻分析方法進行研究。而本論文的發想，源自於人類的行為是思想下的產物，且運用色彩的行為亦是體現思考的環節之一。故基於此一發想，若能闡明日本古代時期的色彩表現，應能知曉古代日本人的色彩思緒及觀點。本稿以「awo (青)」「midori (綠)」兩色為研究焦點之原因，在於中日兩國古代時期，皆對於這兩色的色域認知範圍廣泛，且兩色的色相識別皆相互影響顯著，實為大有探討研究的空間。是以古代日本人對於顏色的發想、紙張的配色表現、色彩語的思維認知，以及色相領域之研究面相，進行考察論述，試圖闡明存在於日本古代色彩表現之思惟及其意涵。
本論文之主要研究結果在於，古代日本人對於顏色的發想，實為一種表徵抽象思緒、情緒狀態之體現物。而色紙的選用及其配色表現，是與日常例行活動有著密切的關聯性，同時，就平安時期物語文學裡的色彩表現而言，其美感構成之要件，則在於古代日本人所展現之配色意識。並可從「二藍(futaai)」、「綠兒(midorigo)」之色彩語的定義及詞彙使用之實況窺知，古代日本人是以日本式的思維形態去認知並定義藍綠兩色。同時亦可從日本古代文學的色名所蘊含的「自然」直觀表現，推斷出古代日本人的色彩觀點，其部份的根源性是源自於中國古代的初期道家思想。另外，針對日本古代文學作品內「天空」的色相領域所進行的考證，得知古代日本人確實自中國古代詩文作品，接收以「青色」去認知「碧天」所意涵的色相；爾後逕自以「綠色」去翻譯表達出古代日本人所理解認知的「碧天」之色相，故心象表現的「綠色天空」，即展顏於日本古代文學的詩文表現。另就「水色」之色相領域研究，得知其為綠、青之兩大色系。同時古代日本人亦常藉由「青波」、「蒼波」所意涵的綠、青、藍色相，表現出廣漠無際之抒情意象。以上為本論文以日本古代的色彩表現範疇，針對「awo (青)」「midori (綠)」兩色所進行探討之要點。日本古代的色彩表現特徵，著實地反映出其與自然風土、社會環境要件之融合性，且於色彩意識形態方面，高度地彰顯出蘊含日本式思維的色彩自主性。
Topics, such as the relationship between color and literature or representation of color image, have been discussed and examined widely by the academia in the field of Japanese literature since researches from scholars like Ihara Aki, Maeda Ujo,and Uemura Rokuro for the past years. However, the theme of this thesis mainly clarifies the ancient Japanese’s thinking of two colors “awo (bluish-green) and midori (green)” on the issue of color presentation in the ancient Japanese literature.
The purpose of this thesis is to investigate the color presentation and color viewpoint of ancient Japan in order to understand how the thinking on color images changes during cultural process so that we can acquire Japanese’s color background on that era. At the same time, the research method of this paper adopts the documents analysis based on the literature before Japanese Heian Period and historical findings as the object of study. The idea of this thesis is derived from the concept that human behavior is the product of thought, and the use of color behavior is also one of the links reflecting human thinking. Therefore, based on this thought, if we can clarify color presentation of the ancient Japanese, we should be able to know the thouhgts and views on colors of the ancient Japaneses. The reason why these two colors "awo (bluish-green)" and "midori (green)" are our study focus is because that in the ancient period between China and Japan, there is a wide range of color recognition for both colors, and recognitions between the two color hues affect each other resulting in significant impact, which therefore leaves great room for study. In sum, this thesis is to investigate and examine the thinking and meanings of color hue presentation existing in the ancient Japan in terms of origin of color thinking, presentation of paper’s color matching, and recognition of color thinking and language for the ancient Japaneses.
The main result of this thesis is that the ancient Japaneses regarded colors as the manifestation of abstract thoughts and emotional states. The selection of colors and matching presentation were closely related to daily routine activities. At the same time, in terms of color presentation in the literature of Heian Period, the conditions of establishing esthetic sense came from the awareness of color matching presented by ancient Japanese. And from the definition of color language and the use of vocabulary of the "two blue (futaai)", "green (midorigo)" give us a glimpse of the ancient Japaneses, who understood and defined the blue and green colors with pure Japanese thinking. Also, from the color view of the ancient Japaneses, it deduced the "natural" intuition and therefore we can suggest the origin of its part originated from the early Taoist thought in ancient China. In addition, research from the "sky" of the color hue field shows that the ancient Japaneses indeed recognized "bluish-green sky" as "blue color", and afterwards, they used "green color" to translate and expressed "bluish-green sky" what ancient Japanese recognized and understood. As a result, "green sky" was the manifestation of their inner picture and was presented as poetic writings in the ancient Japanese literature. Another research focus is on the color hue of "water color," resulting in green and blue, the two gamut of colors. The ancient Japaneses often used "bluish-green wave" and "green wave" implying the color hue of green, bluish-green, and blue, manifesting vast and unlimited lyric ideology. All of the above are the research directions leading to examine color presentation in the ancient Japan from investigating the two colors "awo (bluish-green" and "midori (green)." The color characteristics of color presentation in the ancient Japan not only truly reflected the melting element of colors, nature, customs, and social environment, but also highly expressed its autonomy of color conveyed by the Japanese thinking. |
