國舟與舟國－－任汝謙湖航身份的轉換與局限

The Boat in the Garden and the Boat as Garden: Transitions and Limitations of Identity in Wang Ruqian's Boat Garden

杭州古都的光暈，在晚明消頹不安的大氛圍中，依然籠罩在十里街坊與西郊湖水之上。杭人水上遊潮，多以小舟，少數官商造有樓船，天啟三年仲冬，汪汝謙以「不繫園」開啟了樓船的新里程。不繫園與隨後出現的隨喜庵，藉由精巧的制作工藝，突破既有樓船的限定，是改造成功的遊湖之舟，然而通過命名，這二艘西湖園林之「舟」，卻以「園」、「庵」的身份被認識。以舟為庵，二者同屬於園林中的建設要素，將遊圍的流動性轉換為居園的深穩，汪氏舟舫的建制提供了可長時居留的功能，引導了居遊主賓以舟為庵的體認。然以舟為園，則逕以局部代全體，就物質建構而言，汪氏舟舫自身不能等同於一座園林，陳繼儒的大膽命名，可視為文士神思跳宕的神來之筆，後人無從細究其個人用意：值得留意的是：它為時入所接受，在汪氏主賓題詠中得到許多呼應，他們如何詮說湖舫與園林的關係？本文以《不繫園集》、《隨喜庵集》為主要依據，參酌相關文獻，討論汪汝謙湖舫由「園林之舟」到「以舟為園」的身份轉換，以及其試圖突破與終究不能突破的局限。首先說明汪氏湖舫的建制與規約，次則分述它作為遊湖之舟與居園之庵的身份，所提供的功能與審美經驗，再次則探討汪氏建設西湖、毋私園亭的心意，將之納入明人園林論述的脈絡中，由「意在園在」的觀想來解說「以舟為園」的意義。最後則以「不繫」與「隨喜」名稱釋義，來總結前述身份中所可能蘊含的意義，並追索不繫園在明清易代後的處境。不繫園的出現，可說既是對園林風氣順隨的繼承，也進行對園林風氣逆向的反思。

Even during the decline and unrest that marked the final years of the Ming dynasty, the civilized glow of the ancient city Hangzhou(杭州)lit up its city streets and the shores and waterways of the West Lake. At the time, most people toured the lake on small boats, with only a few government officials and businessmen being able to afford the more elaborate pagoda boat. In the winter of 1623, though, all that changed when Wang Ruqian(汪汝謙)opened up new vistas with two boats named 'Unfettered Garden'(Buxiyuan不繫園)and 'As You Like Pavilion'(Suixian 隨喜庵). These two boats, with their intricate craftsmanship, represented a departure from the standards of the times and successfully recreated the touring boat even as they tweaked the notion of being boats for roaming the 'garden' of the West Lake by being named, and indeed being known as, a 'garden' and a 'pavilion.' By taking the boat as a pavilion (both of which are integral parts in the 'garden' experience) the mobility implied in the act of perusing a garden is transformed into the stillness represented by an object residing in the garden. Wang's boats offered the ability to reside in the 'garden', of the West Lake for extended periods of time, thus leading both hosts and guests to understand the boat that they were on as being a pavilion. And yet taking the boat to be a garden confuses the part with the whole; for indeed, from the point of view of their physical construction, Wang's boats were naturally not identical to a garden. As such, the bold naming of these boats by Chen Jiru(陳繼儒)can be seen as a masterful stroke of a brush by a brilliant literatus that was lost on later generations. For us it is interesting to note that, at the time, judging from the numerous poems written by Wang and his guests for the occasion, people were quite receptive to Chen's notion. We might ask, then, how they interpreted the relationship between boat and garden? This article discusses Wang's transition from the notion of 'boat in the Garden' to 'boat as garden' as well as his attempt to make a breakthrough and his ultimate inability to do so by a reading focused on the Buxiyuanji(不 繫園集)and the Suixianji(隨喜庵集)and supplemented by other relevant texts. We begin by reviewing the construction and design of the boats and then move on to discuss their dual identities as both vehicles for touring the West Lake and pavilions residing in a garden, and the aesthetic experience that they provide in each of their roles. We then discuss Wang's intent in constructing the West Lake not for himself Pavilions and bring them into the context of the Ming dynastic discourse on gardens by interpreting the notion of 'boat as garden' in terms of the idea 'where the thought is, that is where the garden is'(意在園在). Finally, we look at the meaning of the terms 'unfettered' and 'as you like' in a summary of the potential connotations of the different identities discussed in this article. We will see that the appearance of the 'Unfettered Garden' not only builds on the traditions of gardens at the time but also results from a contrarian reflection that tradition.