杭州古都的光暈，在晚明消頹不安的大氛圍中，依然籠罩在十里街坊與西郊湖水之上O杭人水上遊湖，多以小舟，少數官商造有樓船，天啟三年仲冬，汪汝謙以「不繫圈j開啟了樓船的新里程。不繫園與隨後出現的隨喜庸，藉由精巧的制作工藝，突破既有樓船的限定，是改造成功的遊湖之舟，然而通過命名，這二艘西湖園林之「舟」'卻以「園」、「庸J的身份被認識O以舟為慮，二者罔屬於園林中的建設要素，將遊圍的流動性轉換為居圍的深穩，汪氏舟前的建制提供了可長時居留的功能，引導了居遊主賓以舟為庸的體認。然以舟為圈，則逕」;)、局部{弋全體，就物質建構而言，汪氏舟肪自身不能等同於一座園林，陳繼懦的大膽命名，可視為文士神思跳宵的神來之筆，後人無從細究其個人用意:值得留意的是:它為時人所接受，在汪氏主賓題詠中得到許多呼應，他們如何詮說湖肪與園林的關係?本文以《不繫園集〉、〈隨喜應集〉為主要依據，參酌相關文獻，討論汪汝謙湖前由「園林之舟」到「以舟為圈」的身份轉換，以及其試圖突破與終究不能突破的局限。首先說明汪氏湖前的建制與規約，次則分述它作為遊湖之舟與居圍之處的身份，所提供的功能與審美經驗，再次則探討汪氏建設西湖、毋私園亭的心意，將之納入明人園林論述的脈絡中，由「意在圍在」的觀想來解說「以舟為圖」的意義。最後則以「不繫」與「隨喜」名稱釋義，來總結前述身份中所可能蘊含的意義，並追索不繫園在明清易代後的處境。不繫圓的出現，可說既是對園林風氣順隨的繼承，也進行對園林風氣逆向的反思O

Even during the decline and unrest that marked the final years of the Ming dynasty， the civilized glow of the ancient city Hangzhou (杭州)lit up its city streets and the shores and waterways of the West Lake. At the time， most people toured the lake on small boats， with only a few govern· ment officials and businessmen being able to afford the more elaborate pagoda boat. In the winter of 1623， though， all that changed when Wang Ruqian (汪汝謙)opened up new vistas with two boats named “UnfetteredGarden" (Buxiyuan不繫園) and “AsYou Like Pavilion" (Suixian隨喜庸). These two boats， with their intricate craftsmanship， represented a departure from the standards of the times and successfully recreated the touring boat even as they tweaked the notion of being boats for roaming the “garden"of the West Lake by being named， and indeed being known as， a “garden"and a “pavilion."By taking the boat as a pavilion (both of which are integral parts in the “garden"experience) the mobility implied in the act of perusing a garden is transformed into the stillness represented by an object residing in the garden. Wang's boats offered the ability to reside in the “garden"of the West Lake for extended periods of time， thus leading both hosts and guests to understand the boat that they were on as being a pavilion. And yet taking the boat to be a garden confuses the part with the whole; for indeed， from the point of view of their physical construction， Wang's boats were naturally not identical to a garden. As such， the bold naming of these boats by Chen Jiru (陳繼儒)can be seen as a masterful stroke of a brush by a brilliant literatus that was lost on later generations. For us it is interesting to note that， at the time， judging from the numerous poems written by Wang and his guests for the occasion， people were quite receptive to Chen's notion. We might ask， then， how they interpreted the relationship between boat and garden? This article discusses Wang's transition from the notion of “boatin the garden" to“boat as garden" as well as his attempt to make a breakthrough and his ultimate inability to do so by a reading focused on the Buxiyuanji (不繫園集)and the Suixianji (隨喜賭集)and supplemented by other relevant texts. We begin by reviewing the construction and design of the boats and then move on to discuss their dual identities as both vehicles for touring the 叭Test Lake and pavilions residing in a garden， and the aesthetic experience that they provide in each of their roles. We then discuss Wang's intent in constructing the West Lake not for himself Pavilions and bring them into the context of the Ming dynastic discourse on gardens by interpreting the notion of“boat as garden" in terms of the idea “wherethe thought is， that is where the garden is" (意在圍在).Finally， we look at the meaning of the terms “unfettered" and “asyou like" in a summary of the potential connotations of the different identities discussed in this article. We will see that the appearance of the“Unfettered Garden" not only builds on the traditions of gardens at the time but also results from a contrarian reflection on that tradition.