立望關河到鶴群歸來：李渝小說跨藝術互文的懷舊現象──以〈關河蕭索〉、〈江行初雪〉、〈無岸之河〉、〈待鶴〉一組小說為主

The Inter-art Relations and Inter-textuality for Nostalgia: The Study of Nostalgia in Li Yu’s Short Stories

李渝（1944-2014）兼具小說家與藝評家雙重身分，此兩種身分同聲相應同氣相求。小說展示了原創即作家風格之所繫寓意，而畫論浮凸了她傾注的畫家南唐趙幹、近代任伯年、傅抱石等獨創的美學內外，一體綰合組成中國傳統文人形象蘊含的性格、際遇、感知……形貌，回過頭來豐富、影響了李渝創作並進一步發展為敘事與文論。此相應相求，從早期〈關河蕭索〉（1981）、〈江行初雪〉（1983）延伸至晚近〈無岸之河〉（1993）、〈待鶴〉（2010）皆有對應畫作可證：〈江行初雪〉對應五代南唐畫家趙幹同名畫作；〈關河蕭索〉對應近代畫家任伯年〈關河一望蕭索〉、〈關河再望蕭索〉及傅抱石〈關河一望蕭索〉畫作；〈無岸之河〉、〈待鶴〉以宋徽宗〈瑞鶴圖〉為摹本。梳理上述作品皆不脫傳統文人面對離亂時代興生「暗想當初」的懷舊心理底蘊，轉為小說與畫作，既是同一母題跨媒材再創作，亦十足反映李渝創作美學與懷舊心念。本文因此以斯維特蘭娜‧博伊姆（SvetlanaBoym）《懷舊的未來》（The Future of Nostalgia）之懷舊論點切入，探討文本的跨藝術互文性（in-terart intertextuality），並進一步勾聯〈關河蕭索〉、〈江行初雪〉、〈無岸之河〉、〈待鶴〉一組小說的懷舊現象及李渝如何挪用與調度藝術（史）元素。

Li Yu is distinct from other modernist writers for that she is not only a writer butalso an art critic. The latter influences her writing and thusly forms her most famouswriting style—“Duōchong du yǐn” (multi-waving). The “inter-art inter-textuality” wasborn in such circumstance. This paper probes the nostalgia of inter-art inter-textualityin Li Yu’s short stories. First, the researcher investigates how she enriches fiction with arthistory— by visualizing time and transforming time into visual mind in art history. LiYu’s novels echo various Chinese artists’ paintings, all of which implying artists’ nostalgicfeelings in their age of turmoil. In transforming the elements of the paintings into hernovel, Li Yu re-creates the same motif across different medium and expresses her aestheticsand sense of nostalgia. Second, the researcher attempts to apply Svetlana Boym’stheory of nostalgia in her The Future of Nostalgia to explore inter-art inter-textuality inLi Yu’s works. The researcher aims at investigating the nostalgia in Li Yu’s selected shortstories— “Guān he xiāo suǒ,” “Jiāng xing chūxuě,” “Wu an zhī he” and “Dai he.” Lastly,the focus of this paper shifts onto the examination of how Li Yu applies and appropriatesthe elements of art (history) in her works.