宋代詩人同題競作之風極盛，蔚為時代風氣。今檢索《全宋詩》資料，選擇〈陽關圖〉、〈續麗人行〉為例，皆有關題畫詩之創作與遺妍開發者。初，李公麟作〈陽關圖〉並小詩，詩情畫意，相得益彰，於是引發蘇頌、蘇軾、黃庭堅、蘇轍、張舜民、謝薖、王灼、樓鑰、嚴粲等九家繼作，迭相唱和、題跋，畫與詩中之遺妍，先後經詩人穿之、鑿之，遂獲得許多開發。蘇軾作〈續麗人行〉，假借杜甫〈麗人行〉詩題，以圖寫周昉所畫「背面欠伸」美人，於是引發韓駒、姜特立、楊萬里、高斯得、趙善扛五家南北宋詩人同題共作，或寫麗人之哀怨，或寄諷諭之微旨。宋詩之遺妍開發，往往就前人作品意蘊未盡處、情節空白處、留有餘地處、美中不足處，以及淺處、直處、粗處、窄處、正處、俗處，進行穿越、開鑿、拓展、發明，或因出入眾作而推陳出新，或因別識心裁而開拓發明，同題詩有之。其創作精神與當代西方文學理論中之「接受理論」或「接受美學」有異曲同工之妙。要之，同題競作之策略，在針對「前修未密」處，進行「後出轉精」之開拓與發明。清金德瑛指出：「大抵後人須精刻過前人，然後可以爭勝。苟無新意，不必重作。」宋代同題詩之佳妙者，真足以當之。

To write poems under the same title in competition is not only a trend but also a fashion among the poets in the Song Dynasty. To explore this literary moment, the present paper will mainly discuss “The Picture of Yang-Guan” and “The Sequel of Beauties’ Singing” from The Complete Collection of Poems in the Song Dynasty because they serve excellent examples to the development of the unfinished aesthetics of the poem-written painting during this period. At first, Li Gong-Ling drew “The Picture of Yang-Guan” with a little romantic poem on it. The poetic feelings and pictorial images in this poem-painting end up bringing the best in each other, a very successful combination. Accordingly, this work of art powerfully inspires nine famous poets—Su Sung, Su Shr, Huang Ting-Jian, Su Che, Chang Shuen-Min, Shie Guo, Wang Juo, Lou Yau and Yan Tsan. They continue to write poems to interpret this poem-painting in order to develop the incomplete aesthetical aspects of the work. For instance, inspired by Du Fu’s “Beauties’ Singing,” Su Shr writes “The Sequel of Beauties’ Singing” to describe the twice-told-tale-like tedious life of the aristocratic lady who is the man figure in the painting “Stretch Back and Yawn” drawn by Jou Fang. The inspiration ripples continue to move even further. Five poets—Han Jiu, Jiang Te-Li, Yang Wan-li, Kao Shr-Dei and Jau Shan-Jang—decided to follow Su Shr and compete each other by writing new poems on the same subject and painting. In the end, they successfully dig out the various aesthetic values hidden behind this poem-painting, some writes about the unexpressed sorrow of the lady while others write political parodies of the painting. In truth, the uniqueness and success of Song-Dynasty poetry is its relentless effort to develop something left unsaid and unfinished in the early works of art from different perspectives—similar to what is called “reception theory” or “reception aesthetics” in the contemporary literary theory. In brief, my contention is that the same-title poetry competition lays the cornerstone to the significant development of the incomplete aesthetics of the early poetry in the Song dynasty. In order to become outstanding followers, poets in this period have to find out the “aesthetic lacuna” of an early work first in order to work out something new and noteworthy thereby making their unique contribution to it. Jin De-Ying in the Ching Dynasty rightly pointed out, “[T]he successors must have something superior to the predecessors. Otherwise, there is really no need to redo the early works.” Indeed, the same-title poetry competition, which successfully redeems the hidden aesthetic values of the early poetry in the Song Dynasty, is surely an excellent instance here.

宋詩; 同題競作;遺妍開發;〈陽關圖〉;〈續麗人行〉

the Song-Dynasty poetry; the same-title poetry competition; the incomplete aesthetics; the picture of Yang-Guan; the sequel of Beauties’ Singin