活物：《閒情偶寄》的動態美學

Lively Things: The Interactive Designs of Li Yu's Xianqing ouji

呂書林(Vincent, Joseph Anthony)

指導教授 ： 曹淑娟 ； 許暉林

國立臺灣大學/文學院/中國文學研究所/碩士(2016年)

https://doi.org/10.6342/NTU201700902

摘要

本論文分為三章，分別從物質文化、視覺文化、以及書籍史的角度來討論李漁的《閒情偶寄》。試圖呈現出李漁如何想像、創造出一個「活著」的物質世界。《閒情偶寄》的讀者所看到的「人」與「物」的關係，並非二元對立的「主」與「賓」，而是一個更為豐富、更為動態的互動關係。李漁的園林、戲曲與建築設計大多具有一種能動性，比如隨著滑車的拉抬而飛上劇台的「傀儡等」或自己能發熱、燒香的「暖椅」。李漁也透過很幽默的方式來想像物件的內在生命：將床比喻成賢婦、將自己發明的「暖椅」說成驢子，甚至給杏樹穿上裙子。關於視覺文化的討論聚焦的是李漁如何透過觀者視角的左右、畫作的佈置、以及種種產生「幻覺」效果的設計，讓觀者沈浸在一個千變萬化、十分迷人的視覺經驗。在李漁的這些設計中，「觀者」與「景象」之間的互動成為視覺效果的核心。 李漁所創造出的奇景隨著時間、視角、陽光的變化而變化，這種十分動態、迷人的視覺實驗足以讓人走入一種 「幻」的狀態。這就是李漁視覺景象所具有的生命力。在關於出版文化的討論中，我企圖也將《閒情偶寄》本身想像成一部「活著」的出版品。此書不只是被動地記載了李漁的種種「偶寄」，還積極地幫助李漁推廣他的出版、文化、戲劇事業，同時也成為了文人聚在一起談論、交往的空間。李漁就是與這樣「活著」的書本一起合作來建立一個龐大的社交、商業網絡。希望此研究從「活物」這樣的視角能重新認識李漁的這部散文集，並與李漁一起想像人與周圍環境所可產生的互動能性。

關鍵字

李漁 ； 閒情偶寄 ； 視覺文化 ； 物質文化 ； 書籍史 ； 園林

並列摘要

This thesis explores how Li Yu imagines a living, interactive material world in his magnum opus, Xianqing Ouji, through the lens of material, visual and print culture. In the first chapter, I discuss the relationship that Li Yu imagines between humans and things, which is not simple relationship of passivity or activity, subject or object, but of mutual interaction. The objects in Li Yu's designs for gardens, theatrical stages, and home interiors are filled with a sort of agency and liveliness, such as his "puppet lanterns" that move according to a sophisticated pulley system, or his "heated chair" that burns coal to emit warmth for the user. There are also times when Li Yu pokes fun at the life of things through jokes and word games, such as comparing his bed to a faithful wife, his heated chair to a donkey, or jests about covering the trunk of an apricot tree with a skirt. In the chapter on visual culture, I show how Li Yu manipulates lighting, the viewer's perspective, and the distance between viewer and object of view to create illusionistic effects. For these illusionistic visual effects to take hold in the designs, interaction between viewer and viewed is of central importance. Li Yu's visual spectacles are extremely dynamic, their effect fluctuating according to the time of day, point of view, lighting, and distance from the viewer. It is precisely this sort of dynamism that gives Li Yu's spectacles a quality bordering on aliveness. In the final chapter on print culture, I also treat Xianqing Ouji, this printed work itself, as a lively object capable of doing things as it actively brought literati across China together upon its pages interact through commentaries and collaborative essays. This book played a pivotal role for Li Yu in promoting his various cultural products, forming social connections, and establishing himself as a cultural icon and arbiter of taste. Through this discussion of the “living things” of Li Yu's Xianqing Ouji, I hope to shed light on the ways in which Li Yu, through his discussions on gardens, home interiors, and urban spaces, takes up the philosophical question of how humans can relate to the physical world around them.

並列關鍵字

Li Yu ； Xianqing Ouji ； visual culture ； material culture ； print culture ； Chinese gardens

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