事物在最开始的时候好像都是有序的:匠人的技艺一定要在器物中呈现,而说故事的人总是要在编织文字的技巧上展示其功底。简单地讲,这就好似萝卜落坑,将这些实践和专业落在这些媒介所归属之处。郭熙的创作就是开始于这一切事物都尘埃落定之后。对郭熙来说,只有这样滞后的开始才算是开始。在他以作品所构筑出的世界里面,当中各种角色进行的实践看上去是错置的:匠人会雕刻出一篇故事,小说家则会从口里生出一座陶器。一切的符号尘埃都被郭熙从事物落定之处重新又抛向空中,在那翻腾。总而言之,所有事物都是在重新来过的那一次才算数。 Things seem to be orderly from the very beginning: artisans’ skills must be presented in objects, and storytellers must always demonstrate their skill in weaving words. Simply put, this is like a carrot puddle that places these practices and professions at the disposal of these media. Guo Xi’s creation begins when all these things are settled. To Guo Xi-lai, only the beginning of such a lag can be considered as the beginning. In his world constructed by his works, the practice of the various characters seems misplaced: the tradesman carves out a story, and the novelist produces a pottery from his mouth. All the symbols of dust have been Guo Xi from the things settled down again thrown into the air, where tumbling. All in all, everything is counted once again.