《太平風物》與鄉土中國的想像─論李銳農具系列小說的「展覽」意義及其物之詮釋

本文擬從「展覽」與「物件」的角度切入，討論李銳的農具系列小說集《太平風物》。首先聚焦於書中的農具圖像和圖文結合的形式，分析《太平風物》的視覺性建構及其視／讀脈絡，認為李銳是透過「展覽」的名義，以農具圖片為展示品，讓養活了文明和歷史的器物顯影，引導觀者見而視／識之，同時也藉由「超文體拼貼」的展示框架，將農具放在《王禎農書》、《中國古代農機具》、小說等不同文本中，呈現物之歷史發展、知識生產和意義建構的多重脈絡。其次，針對小說文本進行「物」之詮釋，論述重點在於：（一）傳統農具的「器用之變」如何反映當代農民生存的困境和壓力；（二）從人和物之間的關係，討論農民的生存狀態及其物化悲劇；（三）從小說中的城鄉景觀所呈現的欲望圖景與農村的「風景化」、「去田園化」現象，討論當代社會中物質環境的發展如何影響農村、農民和傳統農具的命運。進而說明李銳如何想像轉型期「鄉土中國」的現實和未來，並以梁鴻的鄉土紀實性作品（「梁莊」系列）作為對照，指出李銳「鄉土中國」想像的偏好與特質。由此觀之，他的農具展覽無疑具有紀念與哀悼的意義。

關鍵字

李銳；《太平風物》；展覽；農具；鄉土中國

並列摘要

In this paper, I discuss the notion of ＂exhibition＂ and the objects in Li Rui's novel Serene Scenery. First, I focus on how the pictures of the agriculture utensils and the accompanying text are brought together and analyze how he constructs the visual sense and the reading context of the Serene Scenery. I argue that Li shows civilizations and historical objects by exhibiting agricultural utensils and leads readers to recognize them. By placing the utensils in a metatextual framework that includes texts like Wang Zhen's writings on agriculture and Ancient China's Agricultural Utensils, Li sheds light on the historical development of the objects and the way knowledge and meaning around them is constructed. In discussing how the novel interprets materiality, I concentrate on (1) changes in the use of agricultural utensils and the way they reflect the predicaments and pressure of modern peasants, (2) the relations between objects and people and the dramatic materialization of living conditions, and (3) how the material environment of modern society influences the fate of the countryside, peasants, and traditional agricultural utensils, with a focus on the novel's landscapes and phenomena as commodification of landscapes and depastoralization of the countryside. Finally, I discuss how Li imagines the reality and the future of this changing ＂rural China.＂ Making a comparison with Liang Hong's Liangzhuang rural documentary series, I point out Li's particular fondness of rural China and demonstrate that his exhibition of agricultural utensils has both commemorative and mournful meanings.