王安忆的通古之作《天香》,摆脱了“五四”以来“人的文学”的窠臼,继承了明清世情文学的精神,为“天香园绣”立传。本文从“格物”“通古”“轮回”三个角度阐述了天香园绣“由实用剥离,进入审美;又从审美重归实用”的历程。而这样的雅俗交织并行,镌刻了上海文化传统的烙印——“清雅,却始终不离市井烟火”。 Wang Anyi’s ancient masterpiece, Tian Xiang, got rid of the “human literature” since the May 4th Movement and inherited the spirit of worldly love literature in the Ming and Qing Dynasties. This article elaborates the course of Tianxiang Garden Embroidery “peeling from practicality, entering the aesthetic ” and returning from the aesthetic “practicality ” from the perspectives of “Gem ” “Tonggu ” “Reincarnation ”. And such elegance and customs intertwined in parallel, engraved the stigma of Shanghai’s cultural tradition - “elegant, but always from the market fireworks.”