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餘園中的「殘紅新綠/如意天香」:中國知識份子的啟蒙心史與悖論美學圖景

The Flowers Pursued in the Residual Garden: Scenes and Imagery of the Chinese Intellectuals' Quest for Identity and the Correlative Paradox

摘要


園林自魏晉以來即為文人寄託情志的場域,這個充滿文化符號的空間,一直彷如中國文人的化身。民國以降,士大夫階層瓦解,文人失去搆園、居園的條件,身份也被迫轉變為無所依憑的知識份子,成為「多餘的人」,一如當時成為廢園的諸多園林。1920年代,知識份子發展出「向民間去」、「為工農兵服務」的左翼論述,為自己爭取社會位置,卻也因而逐漸被邊緣化與有罪化,終致在大躍進時期被打為「小資產階級」;與之同命的園林則承擔「小資產階級情調」的罵名,許多被改為廠辦。文革期間,知識份子淪為「牛鬼蛇神」,被拘禁於已成「牛棚」的舊園中。然而園林景物所蘊含的文化意象,卻給了知識份子療癒的力量。在此創傷與療癒並構的空間中,知識份子透過「因景生情,寓情於景」的體會,了解到:有情則為人,無情者方為牛鬼蛇神,階級身份的二元對立其實是錯誤的;並繪想出「知識份子與勞動人民之間應相生相成,以悖論狀態的社會關係共存」之圖景。園林與文人在民國後的平行命運,使得「園林史」同時得以寄寓「知識分子心史」。由於自古文人即意識到園易就荒,書寫長存的道理,民國後的知識份子也同樣藉由筆下園林意象的經營,將其所遭遇的這段園林/文人同命的歷史寄諸筆墨,本文因此得以透過現當代文學中以園林為場景或意象的文本,梳理出這部共構的歷史。全文以〈如意〉與《天香》為主徑,劉心武在文革初結束時為了重構知識份子的社會身份而寫作的〈如意〉,通過小說中的園林意象,為我們導向了民國後一篇篇寄寓有這段園林史與心史的文本,並展現何為「悖論並存」的理想。三十年後,王安憶不忘「前世舊緣/園」,寫作《天香》,透過晚明天香園林的興建、繁華、到化為民居、園圃的故事,在啟蒙語境上塑造出菜蔬花影共搖曳的園圃與種作田間、務虛也務實的知識份子;並在與《紅樓夢》的互文/借景中,跨代連結出晚明至今文人的一脈心史,也為當代中國搆設出在雅與俗、道與器等相對元素之間,發展出相生相成、和諧並存、雙向同構、動態流轉狀態的悖論美學圖景。

並列摘要


For the ancient Chinese literati, the Chinese garden is an eremitic enclave or a representation of their willingness to become a recluse. The Chinese garden is also a space for literati to present their thoughts. However, the garden’s social role has changed along with the political development of China since the twentieth century, especially during the Cultural Revolution. Although the transformation of roles is hardly documented or studied, some garden themes or imagery-embedded Chinese literary works do depict the changes. From these works, it can be noticed that the Chinese intellectuals' identity seems to parallel the fate of the Chinese garden. From the Cultural Revolution up to present-day, some authors/intellectuals also propose the ideal scenery of a "New China" through the aesthetics of "correlative paradox", which is an important aspect of Chinese garden. Liu Xinwu's fiction "Ru-Yi" (1980) and Wang Anyi's Tian Xiang (2011) are two of the most representative works in this regard. "Ru-Yi" allegorizes the Chinese garden's paradoxical role during the Cultural Revolution as a place that imprisons the literati and consoles their spirit with its natural scenery, aesthetic elements, and cultural memories. "Ru-Yi" also shows the pursuit of integration of the elite and working class, while the communists were prosecuting the literati class and praising the working class. Tian Xiang, with a story set in a garden of the Late Ming dynasty, follows "Ru-Yi"'s pursuit of "correlative paradox" between social classes and between aesthetic styles, but with a more contemporary concern. By presenting these "scenes" and the "imagery" of related literary works since 1911, this article has implications for both the history of the Chinese garden and the history of the Chinese intellectuals’ spiritual pursuits.

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