傅伯星：重現(xiàn)南宋西湖三十景

馬黎 王平

前幾天，去了趟傅伯星先生家，主要為了送一張攝影師肖全給他拍的照片。

去年夏天，肖全來杭州拍200個杭州人，特意跑到了傅伯星家，“我請他轉(zhuǎn)身坐在自己的畫作面前，他的身體一半在南宋，一半在雜亂的書桌前，盯著我的鏡頭抿嘴一笑。南宋的遺風(fēng)就在眼前?！毙と?dāng)時這樣說。

重畫南宋西湖三十景

一些老杭州應(yīng)該知道傅伯星的名字。

上世紀(jì)80年代，傅伯星還在《浙江日報(bào)》做美術(shù)編輯，開始斷斷續(xù)續(xù)地畫一些關(guān)于南宋的畫。但一下筆，心里有點(diǎn)發(fā)虛：在紙上呈現(xiàn)的每一樣?xùn)|西，都需要有細(xì)節(jié)支撐，怎么辦？他開始東奔西走收集南宋的文史資料，1990年提前退休后，長期從事插畫和連環(huán)畫創(chuàng)作，兼涉南宋史的研習(xí)與寫作，出版了介紹南宋及杭州文史的圖書十種。這么一寫一畫，三十多年就過去了。

我去送照片的那天早上，臺風(fēng)剛過，不算太熱，但手機(jī)一查，實(shí)時溫度也有31攝氏度。老傅家里沒開空調(diào)，也沒開電扇，很奇怪，我坐著居然不太熱。

“越是天熱，我狀態(tài)越好?！?/p>

畫桌上iPad亮著，微信開著，相冊里放著各種畫。

老傅今年79歲，平時一般6點(diǎn)多起來，8點(diǎn)開始畫畫，“上午涼快，狀態(tài)好。”午睡起來后的活動：刷屏，燒飯，“調(diào)劑下情緒?！蓖砩峡赐瓯镜仉娨暽系摹鞍⒘^說新聞”就睡覺了。

他每天可以發(fā)五六條朋友圈，其中南宋考古和歷史的新聞比較多，而老先生最近畫了什么，看朋友圈就知道。比如我發(fā)現(xiàn)這段時間，他常常會貼一些新作，線描草稿，都是杭州著名的景點(diǎn)，然后配一段小日記——

草圖構(gòu)了三整天，不趕，慢悠悠地畫，用放大鏡看原圖《西湖清趣圖》，盡量按其所示畫出當(dāng)時原意，讓人知道南宋此景點(diǎn)與今天的不同。由于開始畫在舊熟宣上，且凈寺畫得太大，昨日上街復(fù)印兩份，再回來重畫凈寺，今日再出復(fù)印得此。但構(gòu)線已覺力不從心，已無法如當(dāng)年般有定力，明日且勉力為之，千萬不可心急！自勉。

這張《雷峰塔》，就擺在客廳的沙發(fā)上，畫面繃完已經(jīng)好多天了，遲遲沒有繼續(xù)下一步：打線?！熬Σ皇呛芗芯筒划嫞欢ㄒB(yǎng)精蓄銳，很有把握了再來畫?！?/p>

有時候，他也會發(fā)發(fā)牢騷：“辛辛苦苦畫了三天，發(fā)現(xiàn)許多錯誤，暫時不改了，以后來勁了再改?！?/p>

看來，這段時間，老先生每天拿著放大鏡，就做一件事：重畫南宋西湖三十景，并發(fā)動他的學(xué)生一起畫。

這三十景，是他自己從《西湖清趣圖》里“抽”出來的。

這里有必要再補(bǔ)充下《西湖清趣圖》的知識——現(xiàn)藏美國弗利爾藝術(shù)館，為水墨設(shè)色紙本長卷。此前，對于作者和年代一直有爭議，大部分專家認(rèn)為，《西湖清趣圖》表現(xiàn)的是南宋晚期的西湖人文景物，而且是寫實(shí)的。

浙江省文物考古研究所研究員鄭嘉勵曾寫過一文，結(jié)合文獻(xiàn)記載和考古發(fā)現(xiàn)，他認(rèn)為《西湖清趣圖》描繪的是南宋末年或可稍晚至元初的西湖，且無論該畫創(chuàng)作于元代、明代或更晚，均應(yīng)該嚴(yán)格參考過南宋末的“粉本”。

老傅也認(rèn)為，畫中的西湖景觀，應(yīng)為宋末元初，他想通過“再畫一遍”，來證實(shí)這件事。“我們現(xiàn)在對南宋西湖的風(fēng)景，基本上是沒有概念的，那時的風(fēng)景，跟我們現(xiàn)在基本上不一樣了，很多已經(jīng)沒有了?！?/p>

而重畫還有一件有趣的事：糾錯。

斷橋，紅欄紅立柱白色橋墩

研究過《西湖清趣圖》人應(yīng)該都發(fā)現(xiàn)了，這個畫家的技法很一般，用老傅的話說，“不是很到門”，比如畫畫最基本的透視原理都沒掌握，很多橋、亭，都畫得不對。

傅伯星覺得，這幅畫可能帶有導(dǎo)游圖的性質(zhì)，“游客或者買家可能有個要求，你要把西湖的所有景點(diǎn)都能正面顯示出來。所以很多景點(diǎn)都拉平了，看到的都是正面，不符合透視?！?img alt="" src="https://cimg.fx361.com/images/2018/10/11/qkimageswhjlwhjl201810whjl20181009-1-l.jpg"/>

比如《西湖清趣圖》里的西泠橋。這那是橋？明明是門啊。

傅伯星一笑，“我也覺得奇怪，最后對照了《武林舊事》里的方位才搞清楚，原來是西泠橋，橋上有門，但畫者沒有掌握復(fù)雜的透視原理，畫成了我們看到的這模樣。其實(shí)在南宋的時候，關(guān)于透視，很多畫家掌握得非常好。嚴(yán)格來講，他可能不是一個畫家，而是一個剛?cè)胄械拿耖g畫工?！?/p>

傅伯星重新還原了一下，發(fā)現(xiàn)南宋的西泠橋比斷橋更加通透秀逸，與孤山隱士林和靖、葛嶺西下的古剎相得益彰，很有詩意?！耙?yàn)闃蛳露嗯胖?，也稱之：多排柱橋。這一類型在涌金門城外還有一座，只是沒有門。”

當(dāng)然，我們現(xiàn)在的西泠橋已經(jīng)大不一樣了?！叭绻也蝗ギ?，沒人去做這件事了，大家都不知道南宋時候的樣子了?！?/p>

再說說我們熟悉的斷橋。

這一次，畫家在技術(shù)上沒出問題，但問題是，你能認(rèn)出這是斷橋嗎？

傅伯星畫完后，又發(fā)了一個朋友圈——

這是南宋時的斷橋！終于在《西湖清趣圖》看到他的真實(shí)形象。紅欄、紅立柱（橋下），白色橋墩，在青山綠水中鮮明奪目。橋面有石階，橋兩頭各一對風(fēng)向標(biāo)桿，與《清明上河圖》中虹橋兩端的風(fēng)向標(biāo)桿一脈相承。以后拍南宋西湖電視時，別再套用今橋，勿忘勿忘！

我們說說區(qū)別。

南宋的斷橋沒有亭子，而我們現(xiàn)在的橋畔有一座著名的“云水光中亭”；

橋墩設(shè)有兩對華表，也就是老傅說的風(fēng)向標(biāo)。橋堍華表，是兩宋常見的名物。《清明上河圖》虹橋兩側(cè)，也有同類的華表。但現(xiàn)在的斷橋上沒有了；

畫中的橋有三個橋洞，上面有臺階，比較陡。而我們現(xiàn)在的斷橋長而平。

最重要的是，南宋的斷橋居然是紅色的。

“這個斷橋多少好看，當(dāng)年‘西湖西進(jìn)時，我們不知道這個圖，不然可以建議恢復(fù)?！备挡钦f。

紅色？會不會是畫家的藝術(shù)創(chuàng)作？

我們來讀詩——南宋詩人董嗣杲《西湖百詠·斷橋》：“繡轂青驄驟晚風(fēng)，柳絲翠裊石欄紅。彩篙刺水停飛鹢，華表侵云截臥虹?！?/p>

可知斷橋的華表、勾欄均作紅色，與畫中的斷橋設(shè)色一致，也證明了《西湖清趣圖》所繪為南宋末年的西湖。

“這些知識如果不單獨(dú)拎出來，杭州老百姓永遠(yuǎn)都不會知道?！备挡钦f。

西湖中的小船也不一樣。傅伯星還請學(xué)生在PDF里做了一個比較，包括臨水矮墻——

小船，僅三小間，無首尾艙。船工搖櫓以行，此外還有無艙的小舟，劃槳行舟。這些小舟中有兩款有小艙者一插紅旗，一插白旗。

傅伯星從相關(guān)記載推測，紅者可能是水警，因當(dāng)年有個機(jī)構(gòu)叫“排岸司”，專管內(nèi)河水上秩序，其船漆紅。白者可能是水上售貨（酒食）船、白旗原來可能有字，但因旗子畫太小了沒法寫入?！熬碇蟹才R水地面，幾乎皆有矮墻和柵欄，是為警示和防止游人不慎落水。”

還有一座瞭望塔——

這是火警瞭望塔，上世紀(jì)50年代吳山火警瞭望塔的形制與它基本一致。

把已經(jīng)消失的風(fēng)景畫回來

如今已經(jīng)消失的西湖風(fēng)景，傅伯星都要把他們還原出來。

有一座建筑，叫“德生堂”，估計(jì)大部分人都沒聽過。

老傅拿放大鏡仔細(xì)地在孤山周圍看了一圈，發(fā)現(xiàn)《西湖清趣圖》南北二山（包括孤山）凡面向西湖的山坡上，竟然排列著眾多高臺建筑，約今天望湖樓的地方，整個山坡被包裝成了一座巨大的高臺基，臺上就建了五開間的德生堂。

傅伯星說，這超大體量的建筑并不是什么朝廷或首都的重大建筑，僅是一處公共場所：每年四月初八日在此舉辦佛祖誕辰紀(jì)念禮拜活動。

“如果臨安府沒有充裕雄厚的財(cái)力基礎(chǔ)，沒有周邊眾多高臺建筑的成功示范，要建成這樣一座并無經(jīng)濟(jì)實(shí)效的‘民心工程，幾乎是絕無可能的。如果你不把它單獨(dú)畫出來，我們無法知道當(dāng)時還有這么一個建筑。所以，我要用今天的技術(shù)把它畫清楚。我一開始以為是兩層高臺，畫了以后才知道，這個不是高臺，而是高臺的頂平面。像這種缺點(diǎn)就要把它糾正過來，不然別人看不懂，也會造成誤解。”

還有三座島——請注意，不是我們熟悉的“湖中三島”。

“這里有個非常要緊的事情，南宋外西湖上是沒有島的，杭州人熟悉的小瀛洲、湖心亭、阮公墩，都是明清時期形成的。但是，蘇堤西側(cè)從南第一橋到南第三橋，有三座半島或小島，都以島上的主建筑命名?！崩细祵φ樟酥苊艿摹段淞峙f事》“湖山勝概”一節(jié)，“一個個對下去，就找到了它們”，依次為先賢堂、湖山堂、三賢堂。

“寫西湖的詩詞里，經(jīng)常會提到它們，但沒有人知道樣子，我也想畫過好幾次，都是憑自己瞎想，后來看到這個才知道原來是怎么事情?！?/p>

傅伯星說，三賢堂是白居易、林逋、蘇軾的紀(jì)念館，島面積顯然比湖山堂島小許多，但入口處外，木衡門兩側(cè)筑白墻圍成左右竹園，內(nèi)各一亭，頗有文人高逸瀟灑的風(fēng)范。過橋后的建筑也量體裁衣，特別緊湊，就東向正堂后屋各一間外加坊門廊屋，曲折而圍成一院。唯院內(nèi)外南北兩端臨湖各建一水堂。

先賢堂，大約是今天的花港公園，但是，后二島不知何故在元代就消失了，從此退出了人們的記憶，再無人知其大概。如果說，《西湖清趣圖》讓消失長達(dá)約六百年的堤西二島重新浮出水面，那么傅伯星用畫，讓它們真實(shí)地出現(xiàn)在我們面前。

消失的風(fēng)景，還有一座“顯應(yīng)觀”。

“靈芝寺，就是現(xiàn)在的錢王祠，旁邊是顯應(yīng)觀，也是一個非常有名的地方。過去一直不知道到底在什么地方，看完畫以后才搞清楚原來就在錢王祠的旁邊。這塊地現(xiàn)在還在，就是建筑沒有了?！?/p>

更有意思的是，南宋西湖的導(dǎo)游，曾設(shè)計(jì)過一個“南宋西湖一日游”。對照著畫，我們來聽聽古風(fēng)“導(dǎo)游”傅伯星先生的解說詞，回到南宋初夏的一天——

先南后北，從涌金門外上船，向南在船上觀賞靈芝寺（今錢王祠）、顯應(yīng)觀、聚景園等一應(yīng)景點(diǎn)的外貌，至長橋折西在夕照山前上岸，游雷峰塔、凈慈寺，回船稍前折西，沿蘇堤東側(cè)湖山堂前泊舟上岸，剛好時近中午。

畫中此處前后停泊著五六艘大型畫舫，岸上西邊排列著四座簡單的棚屋，靠入口木衡門處還飄著一面“招幌”（廣告旗），但字跡不清。此處即為游人購買點(diǎn)心小吃和土特產(chǎn)品的湖上市集。

過了堤西小石橋，迎面是白坊門和白墻圍成的院落。院內(nèi)外桃紅柳綠，兼有小亭。其西巨杉高松中有歇山頂紅墻數(shù)段，朝南排列，可能為湖山堂主體建筑。上述院落之左，地面向西退入，又有坊門二進(jìn)院落，屋皆東向，唯南向面湖之處有兩排屋面特長，并改為坐北朝南。其最前一屋，可能就是記載中頗受稱道的、面寬十一間的水閣。因透視所限，作者無法作正面描繪，不過總算找到了它的下落。

南宋三十景，傅伯星希望年底可以畫完，再調(diào)整一下，爭取明年公開展覽，“讓杭州人見識一下真實(shí)的南宋西湖?！?/p>

“畫這些風(fēng)景，最難的是識別。因?yàn)橛行┎缓侠淼?，要搞清楚為什么出錯?！崩细嫡f，像《雷峰塔》，第二天上午，他只準(zhǔn)備用淡墨勾后面的山，“一天只能做這件事，多做肯定做壞了?！?/p>

拜訪這天，太太正好出去了。而前幾天，老傅在朋友圈里發(fā)了張照片，他一個人在畫畫，一只小狗趴在他的凳子下，陪著。狗狗是女兒帶來的，在老爸家寄放了幾天。

“一個人畫畫時，有人在旁邊呢，嫌煩，特別是我畫得很仔細(xì)的時候，她突然提出一個問題……哎，我這個老太婆會猛然提出一個問題，惱火得很?！彼Γ暗袝r候呢，畫都很累，想要講話的時候，又沒有人講，那狗在旁邊，就跟它講講話。

Fu Boxing is a name some senior readers of Zhejiang Daily may remember clearly. Now 79 years old， Fu used to work as an illustrator for the paper. In the early 1980s， he needed to create some drawings that portrayed the Southern Song （1127-1279）， a dynasty seated in Hangzhou. The artist found many uncertainties while trying to insert details. He began to collect texts and images about the dynasty. By the time his premature retirement in 1990， he had published ten books on the Southern Song.

I visited Fu the other day， bringing him some photos taken in the summer of 2017 by portrait photographer Xiao Quan. That summer， Xiao photographed 200 Hangzhou residents， part of his ambitious portrait project. “I asked him to turn around to face me from a painting beside him. He turned. It was as if half of him was in the Southern Song and the other half was before the disorderly desk. He smiled at the camera. The elegance of the Southern Song surfaced in that smile，” Xiao recalled the moment.

Nowadays， Fu follows a rigorous and simple timetable. He gets up about six oclock in the morning and begins to draw at 8. This summer， he worked in the morning as it was cooler and he was in a better form. After a nap in the afternoon， he surfs internet and cooks. He goes to bed around 9：30 after watching local news on television.

Fu is now fully engaged in an ambitious project of recreating the 30 scenic highlights of the West Lake in the Southern Song. His recreation project is based on ， an ancient painting scroll in the traditional Chinese style， now in the collection of the Freer Gallery of Art in USA. Who was the original artist and when it was painted are open to discussion. Most experts agree that the masterpiece， which is about 20 meters long， is a copy of the attractions of the West Lake during the last decades of the dynasty or the early decades of the Yuan. Even though experts cannot agree with each other even about in which dynasty the attractions were painted， they tend to agree that it must have been based on the attractions of the Southern Song.

Fu supports the idea that the attractions in the painting must have been around in the last years of the Southern Song and the early years of the Yuan. “We have no idea what the West Lake looked like in the Southern Song. The attractions of the yesteryears are essentially different from what we see today. Some attractions are long gone.”

Another purpose of Fus ambitious project is to make corrections of the original painting. Those who have examined the original painting must be aware of the poor skills of the artist. In Fus opinion， the skills were “l(fā)ousy”. The artist didnt seem to understand perspective. Bridges and pavilions in the painting look absurd. It is known that some artists in the Southern Song Dynasty understood and were able to present perspective perfectly. From this， Fu guessed the artist must have been at an essential level. Fu tends to believe that the painting was probably commissioned by someone who wanted a guide map for a lake tour.

In addition to correcting mistakes in the original painting and putting the highlights in right perspective， Fu wants to restore the 30 attractions of the Southern Song Dynasty.

Take Broken Bridge for instance. The famous attraction of the West Lake looked totally different in the 11th century. In Fus painting， the broken bridge has balustrades and piers painted in red. At the either end of the bridge is a wind vane. A flight of steps goes to the top of the bridge. The bridge has three arches. The piers have two pairs of ornamental columns. In the Southern Song， the bridge did not have a pavilion either on the top of the bridge or by the bridge. Nowadays， at one end of the bridge stands a pavilion.

The red bridge has nothing to do with the imagination of the artist. A poem by Dong Sigao of the Southern Song mentions the red stone balustrades and red ornamental columns of the bridge. “If these historical facts were not singled out and highlighted today， residents of Hangzhou would never know，” remarked Fu. “Had we known about these facts when the western expansion project of the West Lake was underway， we could have probably done something about the West Lake，” wondered Fu.

Fu not only wants to restore what some attractions of the West Lake looked like in the Southern Song but also wishes to bring back some attractions that have been long gone. Take Desheng Hall for instance. Most people today even do not know the tall building once existed on the West Lake. It was not an architectural landmark. It was just a public place where a ceremony was held annually on April 8th on the lunar calendar in commemoration of the birthday of Buddha.

For Fu， the most challenging job is to recognize what is wrong in the original painting. He studies details of the copy of the painting with a magnifying glass.

Fu expects to conclude the project by the end of 2018. He will do some adjustments here and there to make the 30 attractions harmonized. He will work to see if it is possible to hold an exhibition so that the public will have an opportunity to see what the West Lake looked like in the Southern Song.

His wife was not at home the day I visited Fu. I asked about a photo he uploaded into a social media in which he was painting and a dog was lying near his feet. Fu and his wife were temporarily babysitting the dog for their daughter for a few days. “I like to be left alone when I paint. I feel upset if someone hovers around. I would feel extremely frustrated if someone suddenly disrupted me. My wife cant care less. She will throw a question at me very often at such a moment. But sometimes I feel tired and want to talk. If no one is around， I talk with the dog and it keeps good company.”