本文以中國當代藝術家谷文達的裝置藝術作品《碑林：唐詩後著》（2005）為研究對象，從「元翻譯」的角度對該作品予以探析。翻譯不僅是《碑林：唐詩後著》的主要創作方法，還構成了作品視覺表述的核心內容。更為重要之處在於谷文達作為「譯者」，藉由翻譯本身來闡述翻譯。作品中的「翻譯文本鏈」以唐詩翻譯和再譯的名義針對翻譯活動進行自我指涉，在每塊石碑的碑面形成一篇篇「元翻譯」式的敘述，文本間的聯動和張力直指翻譯的內部肌理。《碑林：唐詩後著》不僅點明不同語言、文化間傳意無可避免的不可譯性和翻譯所具有的變形的一面，亦從翻譯角度對文化予以重釋，揭示出翻譯與文化生成之間的關聯。

This paper examines a specimen of metatranslation, i.e. the Forest of Stone Steles: Retranslation & Rewriting of Tang Poetry, an installation artwork by Chinses artist Gu Wenda. Not only was translation Gu’s key approach to his job, but it has made the core visual presentation for the artwork. Furthermore, it is via translation thus employed that the artist, acting also as a “translator”, has set to elaborate on translation itself. The textual chain of the translations and the resultant rewriting of Tang poems have combined to effect a self-reflexive reference to translation, thus constructing a series of metatranslational discourses. The dynamics of and the tension among these texts help to underline aspects of the nature of translation. Specifically, this artwork helps to highlight the untranslatability inherent in interlingual and intercultural communications as well as the notion of translation involving transformation. It also helps to emphasize the correlation between translation and the shaping of a new culture, which entails a re-interpretation of culture from a translation-based perspective.