文化精神的應許之地：張承志《北方的河》之河流意象

The Promised Land of the Cultural Spirit: River Imagery in Zhang Chengzhi’s The River of the North

河流之於中華文明的發展，是不可或缺的基本要素，維繫人類生存與生產條件。作為文明搖籃，數千年來孕育多元的文化面貌，與中華民族緊密相連。本文欲以張承志《北方的河》作為分析文本，運用空間理論相關概念，探討作家如何透過凝視北方大河形塑河流意象，喚醒自身的歷史記憶、感知經驗，與北方大河展開心靈、精神上的對話與連結，重新理解、闡釋曾被遺忘的文化傳統，對文革的一頁痛史、文革後的破碎生活進行反思，建構、審視人與河流、文化及歷史間的互動關係，呈現張承志作為知識分子，在觀看不同河流的過程中，展現的獨特審美感受，及其欲從極具生命能量的河流，尋求脫離生活困境的精神力量與個體存在意義，譜寫出民族文化與河流間的精神圖像。

Rivers are an indispensable element of human civilization. They are the foundation of human survival and production. As the cradle of Chinese civilization, the Yellow River has nurtured diverse cultures and cultural practices for thousands of years, and it is an essential element of the national imagination. This article aims to analyze Zhang Chengzhi's“The River of the North”with the help of concepts such as spatial theory and cultural geography to explore how the author shaped the river imagery portrayed in his work as he contemplated the great northern river. This process refreshed his historical memory and perceptual experience, initiated a spiritual and intellectual dialogue with the great northern river, and reinterpreted forgotten cultural traditions. In addition, it reflected on the painful history of the Cultural Revolution and the fragmented life in the aftermath. This analysis establishes and examines the interactive relationship between individuals and rivers, culture, and history. It also presents the unique aesthetic sensibilities of Zhang Chengzhi, the intellectual, as he observed different rivers. Furthermore, it portrays his desire to seek spiritual strength and existential meaning by immersing himself in the highly vibrant river, ultimately composing a spiritual image of the relationship between national culture and rivers.