本文關照詩人渡也的另一身份，作為民藝收藏家的渡也。首先，聚焦渡也以《留情》集為代表的民藝詩系列，討論渡也的歷史觀，及其反思現代性意識；第二，聚焦渡也在1987年臺灣解嚴後以「鄉愁」為主題的創作，發掘渡也詩在「記憶／遺忘」、「家園／漂泊」等悖論關係中形成的藝術張力。在海峽兩岸時局變化的歷史形勢下，一面積極介入、諷喻現實，一面又不拘泥於現實政治在文化上重建精神家園。最後，以臺灣新詩創作的傳統與現實問題為參照，結合本雅明的收藏觀，綜述渡也以「想像的共同體」為途徑著力鑄造的臺灣認同

Considering another role of Du ye the poet, namely a collector, this paper focuses on unique functions of object images and consciousness of time and space. First, we focus on a question that why most of objects that Du ye chanted are Ming or Qing Dynasty, from the object-chanting poems represented by Show Mercy, and the construct of time and space is carefully read in Du ye's poems: it has an introspection of modernity consciousness based on cognition of ＂Ancient / Modern＂ and ＂China / the West＂ as well as feelings at the end of the century in the junction of Qing Dynasty and the Republic of China from the experience of Taiwan. Second, the art tensity forming in paradox relations suchas ＂Memory / Oblivion＂ and ＂Homeland / Roving＂ will be discovered by focusing on allegorical poems themed ＂Nostalgia＂ written after Taiwan had been released from the order of martial law in the year of 1987. Du ye echoed ＂Landscape of Motherland＂ both in time and space aspect guided by object images of ＂Moutai＂, ＂Map＂, and ＂Tape＂ and so on. Lastly, referring to the theory about ＂Collectors＂ of Walter Benjamin, we explain the same experience of time and space in both object-chanting poems and nostalgic poems of Du ye, and explore to respond to the anxiety of identity and the worries of history that took shape in the realizing process of his poems