中國的「十七年」（1949-1966）與文化大革命（1966-1976）期間的歷史過程，對中國的知識份子來說是一段傷痕記憶，由是，與這段歷史相關的文學、藝術作品在文革結束後的「新時期」大量出現。然而，這些所謂「傷痕文學」的作品經常聚焦於知識份子的苦難記憶，雖亦有許多對歷史進行省思的「反思文學」作品，但真正對造成這段傷痕歷史的思想根源進行探究者，為數並不多。古華在1990 年出版的《儒林園》長篇小說透過故事內容、敘事以及隱含其中的「文人園林」及「園中湖石」意象，指出此一歷史災難的思想根源，有其重要意義。本文分析《儒林園》，指出此作一方面透過一座「十七年」時期的「高教勞改營」對知識份子的折磨與思想改造過程的描繪，形塑出知識份子在「非人」時代的遭遇，也為主角人物繪製出具有風骨，嶙峋挺立於歷史狂潮中的「園中湖石」意象。本文進一步指出，此作以園中湖石在文本中的「不在場」，使其「在場」，以召喚「人性」，而小說中作為「虛實共構」的「太湖石」化身的主角，被以「講／不講」、「活／不活」、「恕／不恕」、「有情／無情」等看似「二元對立」實則以悖論方式共構的方式進行塑造。小說藉此對毛澤東據以搧動工農兵，發動階級鬥爭，藉以打壓知識份子以獲取政權，鞏固領導中心的策略－「辯證唯物論」進行批判。毛澤東所強調在「二元對立」的矛盾中進行鬥爭的理論基礎之「辯證唯物論」，正是《儒林園》所指出造成文革災難的思想根源。

The Left Wing Movement during the “Seventeen-Year” (1949-1966) period and the Cultural Revolution (1966-1976) which followed was a catastrophe for Chinese intellectuals. Therefore, most of the art and literary art works of the so-called "New Period" try to reconstruct the experience they encountered during these historical events and deal with their trauma. However, within them there are only few works offer criticism for the attitude of intellectuals facing with those torture and provide in-depth thinking for the causes of the related historical development. Gu Hua’s The Ru-lin Garden is one of them. This article studies how the author create an imagery of Tai-hu Rock, which is an important element in Chinese literati garden design, to embody the dignity of traditional Chinese literati, so-called “Fong-Gu”(風骨) and also to represent the paradoxical juxtaposition of negative and positive volume (虛實並構) concept of Daoism. This article argues that through the imagery of “Taihu Rock” and the design of many meaningful pairs of binary opposition sets and the paradoxical juxtaposition of these binary opposition sets, the novel criticizes Mao’s core device for evoking revolution ─ " Dialectical Materialism " ─ which is based on dichotomy, and attributes it as one of the main causes of this historical catastrophe.