明代後期刻版印刷技術普及，各種手抄本仍與刻本並行，在整體文學活動中各自承擔不同的功能。經歷數百年，尚有部分手抄本獲得保存。本文以山陰祁氏家族的《寓山十六景詩餘》為例，探問手抄本作為一種物質性遺存可能負載的訊息與意義。《寓山十六景詩餘》今藏北京國家圖書館，抄錄二百五十六闋詞作，上面佈滿了不同部位的圈點記號、眉批旁註、文字修訂以及品評等第等。它們以字體相殊的筆跡、深淺有別的墨色、衝突不一的意見，在平面的紙本上無聲地展示著當年文士群體先後相續、此起彼落的對話，形成一種召喚結構，等待讀者填補其間空白，推求當年數十位文人共同參與的一場文學活動的動態發展過程。本文嘗試借鑒熱拉爾・熱奈特（Gerard Genette）的跨文本性概念，細讀《寓山十六景詩餘》正文與副文本的豐富訊息，並訪尋它與祁彪佳歷年日記、書信、《寓山十六景詞》等的互現或相承關係。主要包括二條問題脈絡，其一，重建當時十六景的擬設、徵集與評選活動，並指出當時文士進行文字交流、接力書寫與借名發表的活動現象。其次，將寓山十六景置入公共山水名勝分景的傳統，追溯它與瀟湘八景、西湖十景的關係，見其有意跨越私人天地的界限，創造家鄉的代表性風景。只是缺乏時間和社群文化積累的厚度，寓山十六景並未成為當地普遍共感的氛圍與意境，這場文學活動終究暗淡落幕。

Although the technology of block-printing was widely adopted in the late Ming period, various manuscripts in parallel with block-printed ones were still in use where both copies delivered distinct functions in the entire literary activities. Some manuscripts have been preserved hundred years later. This article uses The Shiyu of the Sixteen Scenes of Yushan preserved by the Qi’s family of Shanyin as an example to investigate the information and meaning possibly carried by the manuscripts regarded as a material remain. The Shiyu of the Sixteen Scenes of Yushan, documenting 256 ci poems marked with numerous circles, spot marks, commentaries, annotations, text revisions, and ratings, is a collection at National Library of China in Beijing. This manuscript made with different hand-writing styles, diverse ink colors, and conflicting opinions silently demonstrated continuous conversations among literati groups at that time, formed a response-inviting structure calling readers to fill the blank, and inferred the dynamic development process of dozens of literati at that time altogether participating in a literary activity. The perspective of transtextuality by Gerard Genette (1930-2018) is applied in this article as an approach to the exploration of the rich information hidden in the texts and paratexts of The Shiyu of the Sixteen Scenes of Yushan. Besides, the interactive-display-and-succession correlations between The Shiyu of the Sixteen Scenes of Yushan and The Ci Poetry of the Sixteen Scenes of Yushan as well as Qi Biao-jia’s diaries and letters over the years are also examined. Two problem contexts are mainly addressed. First, the activities conducted by Qi and his literati friends, involving styling sixteen scenes of Yushan and calling for along with selecting and evaluating the related lyrics works are re-constructed and the text communication, collaborative writing and name-borrowing publication among literati at that time are illustrated. Second, the sixteen scenes of Yushan are put into the historical traditions of spotlighting several landscapes by the author for tracing the connections between the sixteen scenes of Yushan and the eight scenes of Xiaoxiang alongside the ten scenes of West Lake. Qi clearly intended to cross the borders between private and public landscapes and create representative scenes of his hometown. Due to lacking of enough time to deeply cultivate the culture of literati community in Shanyin, the hometown of Qi, the sixteen scenes of Yushan eventually did not become well-known local culture landscapes, and this literature activity was dimly closed.