地因人重，即景見心：清代地方園林志的典範追尋與文本重構

園林作為中國社會文化的特殊人文空間，反映著獨特的人地關係。從微觀的園林空間而言，作為活動主體的士階層，通過歷時性人際互動與密切人文活動，形成具有士人生命特徵的主體空間。從宏觀的地域圖像來看，園林空間亦與周遭地域環境、時代氛圍共構成特殊的文化圖像，其意義也持續積累、層疊。當上述資訊通過書寫，而被聚集、凝縮，在系統的表意形式當中成為一種文本類型時，相對會釋放出更為豐富的活動者心態、社會文化等意義。在中國園林的發展中，大量詩文創作形成了園林文學的豐富圖像。從唐代開始，出現了以「園林」為主題的專志。「園林志」為編輯者有意識地以園林為中心進行選擇、編排的文本，包含了一座或多座園林的相關記文、詩歌、史地與人物記錄等訊息，部分亦包含園林圖繪。相對於單篇的園林詩歌詞賦、記文雜筆，園林志有著豐富多元的文本內容、園林訊息，更能照見園林在特定時間片段的形象，以及歷時性發展下的流變樣貌與整體空間精神。並且，園林志編輯者通過特殊視角閱讀、觀看、理解園林的意識觀點、動機心態及其過程，亦值深思。從唐到清，隨著園林文化的發展，園林志在質、量上逐漸成熟。晚明時期，鄒迪光《愚公谷乘》、祁彪佳《寓山志》記自家園林，以個別園林為主題。祁彪佳《越中園亭記》綜錄家鄉紹興地區園林，則是繼北宋李格非《洛陽名園記》後，地方園林群志的代表。園林志作為一種明清文學研究的新材料與思考路徑，有助於我們理解當時的文人文化、思維模式以及生命實踐。在清代，除了個別私家園林專志之外，出現一類以特定地方人物典範為書寫主題的園林志。不同於私家專志自記家園的形式，編輯者出自對人物的仰慕情感，主動搜集相關園林詩文紀錄。在記憶的追尋當中，不僅展示園林過往的地理、歷史樣貌，同時也描繪出後人記憶當中的人物生命形象、人格精神。本文試圖透過八本具代表性的地方園林志，嘗試在文化地理學、集體記憶、視覺文化與物質文化的研究視角中，討論園林志在「文本重構」的歷程中，「記憶」如何被生成、「人物典範」如何被塑造？使得在園林志文本空間中的「景」當中，呈現豐富的人、地共構意義。其中，園林志選編的動機、觀念與行動過程，乃是本文所關注的焦點。本文所討論的園林志橫跨清代三百年，這類地方園林志在人物記憶的蹤索過程中，編輯者仰望昔日賢人，試圖彰顯人物的德行美範。同時也希望透過園林人物記憶的召喚，樹立特定精神指標，繼而對政教、文化、地方風土民情產生影響，不僅與整體的時代氛圍緊密相關，也同時是士人對於園林所在地方的深刻認同。論文在人與空間、地方雙向建構的意義脈絡當中，觀看園林作為獨特的社會、文化空間，說明編輯者如何在「追念」與「不朽」的時間意識當中，以特定的編輯意志、動機與目的導向，進行「實體空間」與「文本空間」的重修，重新賦予園林不同的空間意義，展示「園林」作為「時相話語」的豐富時代意義。透過清代地方園林志的研究，本論文發現園林作為傳統文士隱逸思維的載體，並非純然只是士人退處避世的「壺中天地」。在集體記憶的追想當中，園林乃是具有地域文化精神的重要象徵，展示士大夫群體的社會價值認同，以及儒家士人治平天下精神，嘗試介入地方社會教化的期許及實踐。換言之，園林志當中的詩、文、圖像，乘載了後人想像與追憶中園林與園主共構的生命形象，同時也具備儒者面向鄉里空間、時代群體的承擔與關懷，形成一特殊的地方記憶論述話語。在現行園林文化、園林文學相對著重文人個體在生活美學、空間經營、生命實踐的研究成果上，本文進一步說明園林空間的社會文化屬性，並對園林與集體記憶、地域文化的人文活動現象做出推衍與創發性的詮解，發現園林從「內向性」的空間締構、生命自省，走向了「外部性」的社會參與、公共關懷實現。本文除了揭示園林志文本系統的價值與意義，更透過園林志的觀察，從新材料中提出多元研究視角與方法，有助於讀者理解園林與人物、鄉土、社會、時代乃至於儒家知識體系等議題的關聯，進而提供了整體清代文學、社會文化、士人思想更多元角度的觀察及認識。

關鍵字

園林志；典範追尋；文本重構；重修；儒家治道；地方記憶

並列摘要

As a special humanistic space of the Chinese social culture, the Chinese garden reflects an unique man-land relationship. In a micro perspective, the literati who play the subjective role construct and transform the garden into a subjective space that entails the living varieties of the literati through the chronological social interactions and humanistic events. In a broad perspective, the spatial significances of the garden are also interwoven with the territorial surroundings and the atmosphere of the times, which continues to accumulate and fold. In this way, the spatial significances of the garden condensed in the writing activities transform into a text type in the form of systematic signs, which leads to the generation of more abundant meanings of the mentality and the social culture of the literati. In the developing process of the Chinese garden, large amounts of poetry and prose complete and enrich the multiplicities of the garden literature. Since the Tang dynasty, an array of the monograph on the poems, essays, and pictures of the garden has appeared. Editors consciously collect and edit lots of literary works that centre on the messages or the record of the garden. Because of the multiplicities of the garden literary works, the Garden monographs are in more detail than any single poem or prose. In other words, the Garden monographs explicate more plentiful spatial meanings of the garden. In this case, the viewpoint, perspective, and mentality of the editors manifest themselves much more significantly. From the Tang Dynasty to the Qing Dynasty, the quality and quantity of the Garden monographs mature along with the development of the garden culture. In the late Ming period, Zou Di Guang’s “Yu Gong Gu Sheng” and Qi Biao Jia’s “Yu Shan Zhi” document their own gardens respectively. Qi Biao Jia’s “Yue Zhong Yuan Ting Ji” documents the gardens in his hometown, Shao Xing which is the representative of the regional Garden monographs which document the gardens of various places after Li Ge Fei’s “Luo Yang Ming Yuan Ji” in the Northern Song Dynasty. As a new kind of research material and approach of the Ming and Qing Dynasty literature, the Garden monographs can help us recognize the culture, mentality, and life practice of the literati at that time. In the Qing Dynasty, besides the individual Garden monographs, a new type of Garden monograph appears. The editors select the material of the literature of the garden and the literati who are admirable. In the process of recollecting memory, the Garden monographs not only show the geography and history of the gardens, but also portray the character images existing in the memory of later generations. This dissertation discusses the eight major Garden monographs and aims to figure out the process of the “text reconstruction” of the Garden monographs through some perspectives and theories such as Human Geography, Collective Memory, Visual Culture and Material Culture. In terms of the topic, this dissertation tries to reveal how the model images of the literati characters are shaped by the editors and how memories are generated. These represent the multiple significances among the interactions between humanity and the garden space. Most important of all, this dissertation focuses on editing the behaviors, motivations, and perspectives of these writers and editors. The time of the regional Garden monographs chosen in this dissertation spans over three hundred years of the Qing Dynasty. The Garden monographs editors try to commend the literati of the gardens for their virtues and merits. Moreover, the editors intend to establish the spiritual model in order to exert positive effects on the political indoctrination, custom, and tradition of the local society. In this case, the effects of Garden monographs are not only closely related to the atmosphere of the times but also the profound recognition of the locations of the gardens. This dissertation places the gardens in the context of the meaning of the interactions between humanities and spaces. I try to explain how editors endeavour to compile and reconstruct the space of garden in the temporal consciousness of “immortality” and “reminiscences.” Moreover, editors also give new meanings of the gardens to respond to the then political and social situation. Through the research of the regional Garden Monographs of Qing Dynasty, we find out that the gardens are not only the sheer concept of the “universe in the pot,” but also an important symbol of the local culture in the reminiscences of the collective memory. Furthermore, the symbolic function of the gardens represents the social values and local identification of literati and scholar-official. In other words, the poems, proses, and the pictures in the Garden monographs that depict the life images in the imagination and reminiscences of the later generations are mutually interwoven between the gardens and the literati. At the same time, these works also represent a specific discourse in terms of the local memories consisting of the care and the responsibilities that the literati bear for the local spaces and the unity of the times. The current research of the garden and the garden literature relatively focuses on the meaning of private space such as the aesthetics of personal life, space management, and life practice of the literati. On the basis of the past research, this dissertation further explores the characteristic of the social culture of the gardens and proceeds to explicate the re-orientation from the “internalities” of the spatial construction to the “externalities” of the social participation and the realisation of the community care through the original and inspiring interpretation of the collective memory, the local culture, and the humanistic events of the gardens. The result of this study indicates that the textual system of the Garden Monographs remarks a new research approach of the garden literature. Through the Garden Monographs, we can further realize the multiple relationship among the garden, the regional culture, the society of the Qing Dynasty, and even the knowledge system of Confucianism, which further provides multiple layers of understanding and observation in terms of the literature, the social culture, and the thinking of the literati in the Qing Dynasty.