杜甫浣花草堂倫理世界的重構 = The Reconstruction of Du Fu’s World of Ethics in Wan Hua Thatched Cottage

This article explores the reconstruction of Du Fu’s (712-770) world of ethics in his Wan Hua Thatched Cottage. The main body of this article includes three sections. The first section discusses the multifaceted meanings of the beginning of Du’s wandering life: his escape from the capital. The second section investigates why Du constantly travels around rather than settles in Qinzhou or Tonggu. These two sections highlight the Wan Hua Thatched Cottage as a place of pause in his entire travel. Section three, the main part of this article, elaborates on the construction of the Thatched Cottage in Chengdu and its meaning of ethics. This section particularly depicts how Du establishes his understanding of humanity and rebuilds his relationship with human ethics and things in the world. Du builds the thatched cottage as a base for a new social position and vision of life, and the building becomes a new scene of Chengdu and a part of local history and memory because of his stay. Though Wan Hua Thatched Cottage is also a basic type of Tang dynasty literati gardens, it is different from the mainstream. Wang Wei’s (701?-761?) Wang River Villa and Bai Ju-Yi’s (772-846) L? Dao House Garden and Lu Shan Thatched Cottage keep a distance from the crowd and society, dilute the influence of family relationship, and serve as an individual world of delight. They cause the garden designing in the Song and Ming dynasties to evolve into a symbolic epitome of the universe in a pot. Du’s cottage demonstrates a different state of mind, and this understanding of the world impacts later scholars’ attitudes toward living in garden houses. They are therefore able to accept various sufferings in reality, adjust themselves in changes, appreciate frustrations, and fulfill their lives. Later literati gardens also retain the openness and concerns about the secular world under the mainstream that features private space.