本文通過對旅美作家劉大任作品中「離散」與「反離散」交映情懷的分析，呈現其與既有的「離散」批評角度之間的拉鋸折衝，以破除「離散」與「反離散」二元對立的觀點，並藉以說明民國以來離鄉去國的知識分子，追尋身份認同的過程。劉大任從一九六七到二○一七年所出版的三十餘本著作中大多有著一個連貫的主題或母題——「園林」，其與魯迅的〈在酒樓上〉中所描述的廢園與民初開始知識分子的身份追尋歷程有著強烈的關聯性。因此，本文由劉大任的小說〈盆景〉出發，再由與〈在酒樓上〉明顯互文的中期作品〈冬日即景〉、〈且林市果〉、晚期作品〈從心所欲〉，觀察劉大任如何以盆栽、雜碎與枯山水為意象，表現出與「離散」情懷同構並存的「反離散」心境。文中並以常玉繪製於一九五○年至一九六六年之間的系列盆景畫作，作為本文論點輔助性的視覺性表述。最後，本文說明「以常玉畫作視覺化本文對劉大任文學作品的闡釋」的主要作用，乃在於透過「視覺圖像」本身缺乏文字意義附加的脈絡，易於被再脈絡化而納入其他論述架構中，將之作為二十世紀以來離鄉去國的中國知識分子輾轉於「離散」與「反離散」之間，不斷去脈絡化與再脈絡化而「靈根自植」的一個隱喻。

This paper investigates the anti-diaspora “scenery” in the works of Liu Daren and illustrates the identity-construction of Chinese intellectuals who moved to Taiwan and then stayed in the United States after 1945. From 1967 to 2017, Liu published more than thirty works, which have a consistent theme or motif related to “gardening.” Liu Daren continues to write about gardens and gardening, whether he is in Taiwan, Africa or the United States. Interestingly, many of his garden writings have a strong connection with the “abandoned garden,” which also appears in Lu Xun’s “At the Restaurant” (1924), with the identity searching and constitution of Chinese intellectuals in facing tremendous social changes. Starting from Liu’s “Potted plant” (1967), and then to three of his later works which intertextulized with Lu Xun’s “At the Restaurant,” “Winter scenery” (1984), “Chatham Square” (1985), and “Follow the heart” (2012). This article argues that Liu uses the image of “potted plants,” “Chop Suey” and “dry landscapes” to illustrate his entangled feelings of “diaspora” and “anti-diaspora” and to establish his identity as a modern Chinese intellectual who tries to examine his continuing experience of home-town exile from a bright side. A series of “Potted plant” paintings by Sanyu between 1950 and 1996 are also discussed in this article.