摘要： “卧游”是古代文人依托画卷等雅物而实现的精神畅游。步入技术时代，依托数字设备在虚拟场域遍览胜景的“宅游”应运而生。从古代的卧游到当代的宅游，二者均遵循“主体—私密空间—媒介—万千世界”的审美机制；但在具体形态层面，宅游对卧游机制既有所承续，亦呈现出超越性演进，对此可从时空置换、感官强化与边界拓展三方面予以观照。在宅游于技术赋能下实现感官体验大幅提升的同时，感官也取代了卧游中思维的核心地位，削弱了想象的参与，令“澄怀味象”成为“拟象狂欢”。在身体回归审美场域的当下，反思感官与思维的共生关系，化“物役”为“御物”，实为宅游发展破局的题中之义。

关键词: 卧游, 宅游, 审美机制, 感官, 思维

Abstract: “Reclining travel” refers to the spiritual journey realized by ancient literati relying on elegant objects such as paintings. Entering the technological era, “indoor travel”, which allows people to visit scenic spots in virtual fields with the help of digital devices, has emerged as the times require. From ancient reclining travel to contemporary indoor travel, both follow the aesthetic mechanism of “subject-private space-medium-various worlds”; however, in terms of specific forms, indoor travel not only inherits the traditional mechanism of reclining travel but also presents a transcendent evolution, which can be observed from three aspects: time-space replacement, sensory enhancement, and boundary expansion. While contemporary indoor travel has greatly improved the sensory experience under the empowerment of technology, the senses have replaced the core position of thinking in traditional reclining travel, weakened the participation of imagination, and turned “clearing the mind and savoring the images” into “a carnival of simulacra”.

Key words: reclining travel, indoor travel, aesthetic mechanism, senses, thinking