本文探討李渝的小說〈江行初雪〉，如何透過與魯迅〈在酒樓上〉小說的互文，表現出離國去鄉的知識份子，在返鄉暫訪的過程中，對「後文革」初的「故鄉∕國」所進行的觀看；再經由與五代畫作〈江行初雪〉圖的畫面、畫意之「互文」，在文學文本中進行美學施為，表現出對中國左翼革命以來社會及文藝走向的省思，並提出其理想中的美學圖景。本文指出〈江行初雪〉這篇宛如畫卷的小說中，在卷首與卷尾著意安排的江川山水景緻，以及不斷以雪、霧的描繪，對畫面提高明度、降低彩度的作法，與敘事者不斷觀看著旅舍中的庭園並描繪出其中具有文人意味景物的情節，可說是李渝所生產的一種「古典詩意中國」風景。這風景也是她對文革時期親訪中國時所見「庸俗現實」，所進行的點染，藉以勾畫的是她在1980 年代對中國調整未來走向所提供的一種理想圖景。

This article investigated how Li Yu’s novel of “First snow along the river” intertextualizes with Lu Xun’s novel “In the upper floor of a bistro”. It is noticed that, instead of being “gazed” by the “abandoned garden” like Liu Da-ren, which may represent the hometown/fatherland/China, described in Lu Xun’s novel, Li Yu also gaze-back at the fatherland to criticize its aesthetic guidance provided by Mao in 1942 and China’s social development from then on. This paper argues that the narrator of this novel constantly gaze the garden in the hotel and depict the scenery in detail, in addition to express her opinion toward her fatherland, also shows her ideal “landscape” combining the classic poetic China in her memory and the realistic “vulgar China” she experienced in her visit during the Cultural Revolution period. Li Yu’s discovery and production of this scenery can be interpreted as an intention to provide her fatherland in finding new direction some feasible suggestions.