本文主要關懷有關「現實」、「物」、「自然」等觀念，自現象學的視角 對此問題脈絡來進行批判性思考。重點置放在對所謂的現實一向被分割成自然和 文化這兩種對立甚或相反區域的思考，試圖以日本庭圜為具體的例證來探索此區 分的合理性問題。特別是針對物性問題與自然問題，本研究應用日本庭圜作為一 種現象學試驗場，省思庭園的現象學情形。一旦哲學藉由現象學態度或美學態度 來觀察庭圜現象，便可以充分釐清這些現象對於上述問題意識所提供的啟發，以 便環繞庭圜來闡明自然和人為兩者之間的糾纏關係。基本主張在於，此關係並非 傳統哲學習以為常所預設的對立情況，而是自然的與人為的二者經由一種呼應關 係相容相通，而且在此關係當中人的身體性扮演關鍵角色。在為了這個結論作辯 解當中，本研究特別有賴於大橋良介詳細探討的「切續」這種美學範疇以及各種 相關弔詭。

This paper aims at a critical discussion of notions such as “reality,” “thing,” “nature,” from a phenomenological perspective. The focus is put on the conventional opposition, within reality, of what pertains to nature to what pertains to human culture, trying to elucidate the consistency of this classical difference with regard to Japanese gardens as a heuristic means of reflection. Concerning the questions of what is to be regarded as the nature of a thing, and what is natural, this paper takes advantage of Japanese gardens as kind of a phenomenological experimentation field, in order to clarify several major phenomena as to their phenomenal content and status. As soon as philosophy takes a phenomenological or aesthetical attitude towards such gardens, they most inspiringly reveal an essential intertwinement between the seemingly contradictory spheres of the natural and the cultural. Thus the main thesis put forward here is that this strong conceptual opposition cannot be maintained, as there the natural and the man-made exhibit sort of a mutual interrelatedness and communication. Also the human body plays a major role in disclosing this dynamic correspondence between nature and culture. While elaborating on phenomenological evidence for this point of view, this paper also largely is indebted to Ryosuke Ohashi’s leading paradoxical concept of “cut-continuity,” as based on observations of aesthetical phenomena.