後遺民時間／地理政治學：溥心畬臺灣風物之文化敘事

溥心畬以一滿清胄裔，歷經清室傾覆、民國成立、中日之戰、國共之爭，由王孫而平民，由大陸而臺灣，王孫／遺民／移民多重身分錯雜於一身，藉由文學、經學、文字學及書畫創作與理論，表顯出在文化世變下生命離散的滄桑與悲涼，及一種以經證經、摹古復古之姿，迎向歷史與藝術劇變下的文化轉折與挑戰。本文主要以後遺民時間／地理政治學為論述主軸，分從自我與他者：異域的修辭展演、比德與託寓：他者的文化再現、日常與微物：自我主體的建構、異域與記憶：後遺民時間／地理政治學等向度，分析溥心畬移居臺灣之後，以書畫、詩詞文賦及筆記書寫臺灣風物之總體面貌與文化表徵。作為一位遷居於臺灣的新移民，溥心畬書寫臺灣風物，銘刻了家國創痛、歷史巨變、新地風物、現代體驗－既挪用傳統邊緣性志怪與筆記文類，以「史餘」筆法有所興懷、寓託外，更在文學／繪畫互文性的美學空間中，描摹臺灣風物之新與奇。其中又多以非詩非文亦詩亦文的「賦體」鋪陳事理、興感抒懷、比德託寓；以典雅之筆鋪采摛文，標顯新異之感，無疑是自我進入他者空間面向他者既期能盡意又能標顯自我的一種闡述方式，或也是文化交混過程中相互交涉、彼此錯置，進而混融的一種自然興發的情感樣態與文化選擇。此外，在遠承宋明理學理一分殊之道，以原物、博物、愛物、格物之姿，綰合了紙上傳神與體悟天道之形上與形下、實然與應然的縫隙，格物、寫生成了一種道德實踐與修身儀式外，也隱微接合了一些西方靜物畫、膠彩畫、漫畫，而非完全棄離、拒絕了與世界現代化－一種工業社會之文明結構接軌、溝通的可能。溥心畬劫後餘生置身於王朝實然瓦解、正統已然遞壇，原鄉再也回不去的再錯置時空中，臺灣成為一位兼有王孫／遺民／移民多重身分的滿清胄裔／傳統文人融攝為主體想像與認同的重要空間與地方。正因兼有王孫／遺民／移民多重的身分，溥心畬在面對歷史的劫毀、家國的創傷、現代的反芻的總體經驗上，反成了一個後遺民時間／地理政治學的重要研究範本。

關鍵字

溥心畬；臺灣風物；文化敘事；異域；記憶；後遺民；時間／地理政治學

並列摘要

Pu Xinyu, a member of the Manchurian royal family who had experienced the founding of the R.O.C and the P.R.C as well as the Sino-Japanese war and the civil war, turned from one of the nobility to a commoner when he moved from mainland China to Taiwan, he could be simultaneously identified as a royal, a Qing loyalist and an emigrant. His writings, calligraphy and his application of knowledge on Chinese classics, characters, and theories and practices of art expressed diasporic sorrows of misplacement and changes during radical cultural transitions. This paper analyses the general perspectives as well as the cultural characteristics of Pu's writings and paintings related to Taiwan. Focusing on his temporal-/geo- politics as a post-loyalist, the paper further examines Pu's works from four points of views: rhetoric performance in alien territory; cultural representation of the Other; construction of subjectivity; and memory in an alien territory: the temporal-/geopolitics of a post-loyalist.As an emigrant in Taiwan, Pu's writings on local landscape and objects are imprinted with national traumas, historic discontinuities, experiences of an unfamiliar territory and, last but least, modernity. He adopted traditional marginal genres such as tales and anecdotes in a historiographic way in order to express his aspirations and allegories. In the aesthetic space created by the intertextuality between literature and painting, he also depicted a novelty and peculiarity in his Taiwanese scenes. A large amount of his writings took the half-prose and half-verse form of fu (賦), which he used descriptively, sentimentally, and metaphorically. Through the description of his confrontation with the Other, Pu revealed himself by accentuating novelty with classical elegancy. His works can therefore be seen as products of cultural hybridity, in which the cross-referencing of the self and the Other seem to be naturally intended. Pu also inherited the Song-Ming neo-Confucian idea of ”one principle, many manifestations.” His appreciation and studies of objects allowed him to demonstrate vividness on the page with an attempt to embody the (meta-)physicality of natural law while bridging the gap between Is and Ought. His sketches from life, which combined techniques from Western still life, Nihonga and manga, became rituals of self cultivation and seem to embrace the possibilities of communication with industrial civilization instead of a rejection of it.During Pu Xinyu's time in Taiwan, his dynasty was collapsed. The legitimate regime for him existed no more, and nor was there a true home for him to return to. Misplaced in both space and time, Taiwan became an important territory for him as traditional literati, a place where he could restore his subjectivity and sense of identity. Being a royal, a loyalist and an emigrant at the same time, Pu's traumatic experience of the devastation of tradition and the onset of modernity provides us with a significant case of research in terms of post-loyalist temporal-/geo-political studies.