越界的技藝——《水經注》的地理志轉型與唐代再詮釋

土地之於人類是立身之基、是存身之本，同時也是放置自己在人世間位置的起點。地理書寫因而成為人們認知自我、心懷遠方的具體的呈現。自《尚書・禹貢》開始，編寫帝王擁有的疆域、貢物、子民及其風俗成為皇權的具現，同時也是統治的依據。時序進入魏晉南北朝，文人開始將自己關懷的議題落實在地理論述上，地方鄉賢、風土傳說、新的生活區域和景觀開始被觀察、描述和記錄下來。個人的經驗、私房的景點、徜徉在山水間切實的感官體驗開始進入山水的記述中。北魏酈道元的《水經注》正是在這個時間點出現在歷史舞台上。在後世地理志的史論裡，《水經注》一直有著兩極化的評價。後人一方面讚嘆酈道元翔實的考據、實地的考察、縝密的推論，一方面又惋惜於他受限南北對峙只能依傍南方地記所編寫的南方水域。同時，以後世的地理志標準，也難以歸納書中收錄的奇聞異事、域外地理、引述的宗教文獻。酈道元獨特的審美眼光、描繪景色的文采，往往也被單獨提出、作為北朝散文發展的一環進行討論。凡此總總，都讓《水經注》成為一本被拆分割裂的書，價值兩極、貢獻不一、每一類材料都能拆分來單獨討論。本文試圖將時間線拉回酈道元撰著《水經注》的年代，在那一個地志標準正在生成、地理書寫的內涵逐漸豐富擴大的時間點。酈道元選擇為《水經》作注，不依循州郡縣的分類方式，而聚焦於縱橫交錯、蔓延各地的水系，在標舉水的流動本質時進一步關注地理景觀的動態變化。此一變化，既受到河流隱顯、蜿蜒不定的特性影響，也與滄海桑田一類的自然變遷有關。更重要的是人類的衝突、爭端、利用、開墾，也在在導致自然景觀的變化，並影響了人類對地名、地景、疆域、河道、掌故的認知。在意識到地理知識變化、訊息的中斷等種種不可確定的特質之後，酈道元對待「文獻」的態度便與前代的班固、後世的唐代地理學家不同。因為意識到人類的親眼所見必然有時空上的限制，有一些訊息永遠消散在歷史中，酈道元於是依傍文獻記載，補足他因為受限時間和空間條件而來不及親眼見證的地景。而正因為對所見和所知都抱持著這份戒慎，《水經注》也保留了酈道元作為書寫者許多的未知、猶豫和留白。這些特色展現了酈道元書寫上的技藝、寫作的意識，以及重新思考地理志內涵的新設想。由唐人引述《水經注》的八本著作裡，可以看出唐人也注意到酈道元溢出既有地理志框架的地理想像。這些越界的元素不但違背了唐代以求真、尚實為準的地理論述，也導致了不同類別的知識互通、無法歸類的焦慮。因此我們可以看到唐人對《水經注》的引述聚焦在可驗證、可複查的河道知識，同時試圖將溢散蔓延的水系分門別類規制在州郡縣的框架之下。雖然如此，唐代兩本地理志《括地志》和《元和郡縣圖志》也在《水經注》唐代接受史上佔據了關鍵性的地位。前者讓唐人將酈道元的注疏視為可信的獨立著作，不再是經書的附庸；後者則是第一本引述《水經注》原書文句而非鈔變其地理知識的著作，開啟了宋代以後欣賞酈道元文采之美的風潮。換言之，宋代以下金、明、清、民初持續進行的《水經注》研究其實在唐代就已經發端，唐人對《水經注》越界的因應既是一種知識分類的角力，同時也是對酈道元地志轉型的肯定。

關鍵字

水經注；地理志；地理書寫；唐代；接受史

並列摘要

Geographical treatises have been a kind of genres that represents people’s self-identified and their cognition of the world. In other words, the change of geographical sketches shows not only the transformation of genre but also a new cognition of geography. After Yu gong in The Classic of Shu was compiled, rulers intend to record the territory, product, population and custom. The statistics is not only the sign of sovereignty but also the instruction of ruling. In the medieval period, literati join the composing of gazetteers so that they collect local celebrities, regional anecdotes, observation of literati’s exploration into their works. Therefore, authors begin to write down personal experiences, private tourists’ spots, and physical sense of traveling between mountains and rivers. This dissertation aims to discuss the transformation of gazetteers in medieval period by Li Daoyuan’s Shuijing zhu (Commentary of The Classic of Waterways) in the 6th century. This treatise is different from its precedents both in its form and in its content. Instead of recording relatively stable statistics in regions, Li Daoyuan, unlike other geographers, focuses on the variation of landscape. Thus, he mentions how natural elements and human actions influence the ground. By doing so, he enlightens his readers that there are struggles and limitation when literati compile their gazetteers. The compiler of gazetteers is no longer an editor, but a writer. However, Shuijing zhu had never been a model of official gazetteers. Tang literati make the standard of geographical writings then exclude the information which cannot be proved by observation. In the sense, parts of Shuijing zhu are not qualified. The critique and comments in the Tang Dynasty influence readers in the next generations. They praise his survey of natural geography as well as criticize his collection of strange anecdotes, foreign geography and religious text in the book. Li’s aesthetic view of mountains and rivers and the beautiful descriptions of landscape are also picked out of the context to set as one model of prose in the Northern Dynasties. My dissertation tries to reunify Shuijing zhu to discuss Li’s imagination of gazetteers and the craft he uses to deliver his messages. Furthermore, I intend to analyze the reinterpretation of the transformation in Tang Dynasty, which gestures to the evaluation of Shuijing zhu till Contemporary studies.