江南的自我:旗营文化空间与三多的身份认同

The Self of Jiangnan: Cultural Space ofGarrison Camp and Sanduo’s Identity

1650年,杭州城西落成八旗驻防营地,此举将杭州城市空间一分为二,旗人与民人则处于半隔离的社会生活状态。但在杭州旗营建设、毁灭和重建的三个阶段之间,双方始终保持着不同程度的文化交流。随着文化涵化过程的深入、驻防政策的改变及城市创伤记忆的驱动,杭州旗人逐渐发生地方化转化,显现出江南地区的身份认同,并形成了修史编志的自觉意识。正是在此背景下,杭州蒙古旗人三多立志于旗营掌故的整理,并对江南旗人的身份建构展开了思考。三多通过其组诗《柳营谣》,以文学的方式将杭州旗营的历史片段重构为一方文武兼备的文化空间,这不仅是对杭州旗营文化溯源的一次尝试,也体现了其在多元文化的浑融中,凭借特殊的旗人身份和普遍的江南文化所产生的独特的自我意识。值得注意的是,考察三多出任库伦办事大臣前后的文学作品,可以发现三多仍抱持着以“江南”为中心的文化视角审视蒙地风物,呈现出明显的“他者化”的文学叙事,这说明空间转移和文化记忆让三多最根本的身份认同意识回归到了“江南”,可谓近代中国民族交融和文化互动的典型例证。

In 1650,the Eight Banners’garrison camp was completed in the west of Hangzhou,dividing the city space in two parts and leaving the bannermen and civilian population in semi-segregation in social life.However,during the construction,destruction and re-construction of the camp,cultural communications remained between the two communities.With the deepening of cultural assimilation and changes in garrison policies,and driven by urban traumatic memories,the bannermen in Hangzhou were gradually localized,starting to accept the identity of Jiangnan,the regions south of Yangtz River,and consciously compile their local chronicles.Against this background,Sanduo,a Mongolian bannerman from Hangzhou,made efforts to research the history of the garrison camp and contemplate on the establishment of the identity of the banner-men in Jiangnan.Through his poem series Liuying Yao,he re-established the historical fragments of the Hang-zhou garrison camp into a cultural space embodying both cultural and military elements.This represents not only his attempt to trace the origin of the culture of the camp,but also his unique awareness of self,derived from the integration of diverse cultures and shaped by his special identity as a bannerman and the widely-accepted culture of Jiangnan.It is noteworthy that Sanduo’s literary works before and after he took the post of the Kulun Administrative Minister reveal that he used a Jiangnan-centered cultural perspective to observe Mongolian culture,apparently seen from his“othering”narrative.This indicates that the spatial change and cultural memories led Sanduo’s fundamental sense of identity to return to Jiangnan,which is a typical exam-ple of ethnic integration and cultural interaction in modern China.