天下西湖三十六 就中最好是杭州

陸遙 沈聽(tīng)雨 彭先國(guó)

天下西湖三十六，就中最好是杭州。

約在孟夏的午后去找潘滄桑，一路沿著南山路徐徐前行。路兩旁是郁郁蔥蔥的法國(guó)梧桐，隨便走一條小路穿到西湖邊，山清水秀，綠樹(shù)成蔭，心曠神怡。

“講西湖，我們?cè)搹哪睦镩_(kāi)始呢？”坐在辦公室里，潘滄桑拋出了問(wèn)題。

的確，西湖能說(shuō)的故事太多了。她是千百年來(lái)文人墨客競(jìng)相歌頌的靈感之源;她是獲得全球認(rèn)同的世界文化遺產(chǎn);她是外地游客心向往之的打卡勝地;她是杭州百姓代代相傳的城市記憶……

西湖之美，不僅在山水，更在于人。你很難想象沒(méi)有白居易、蘇東坡、章太炎的西湖，那里有中國(guó)文化最完整最精粹的風(fēng)雅。

“先到館里看看吧。”潘滄桑帶我們走進(jìn)了西湖博物館的展廳。

置身其中的審美共鳴

一走進(jìn)西湖博物館展廳，目光就被巨大的西湖全景沙盤所吸引。

青山環(huán)抱之中，“一湖兩塔三島三堤”的景觀盡收眼底，光是在沙盤上看，都覺(jué)得美不勝收。抬起頭來(lái)，巨大的西湖雨絲幕簾營(yíng)造了煙雨朦朧的唯美意境。

潘滄桑說(shuō)：“這是1：1000的西湖實(shí)景沙盤。我們可以先在這里縱覽西湖山水，把西湖‘三面云山中涵碧水一面城的自然地貌與城湖格局盡收眼底。”

很多人都以為所謂西湖就是一個(gè)水體，其實(shí)自古以來(lái)西湖的概念就涵蓋了湖體和周邊群山的范圍，是一個(gè)巨大的山水群落。西湖南西北三面古老的群山由于地質(zhì)運(yùn)動(dòng)的作用，由東向西逐級(jí)緩緩抬升，重重疊疊、舒展起伏，與環(huán)抱其中的西湖湖體，構(gòu)成絕佳的視域效果。湖中的堤島，則巧妙地將西湖分割為外西湖、里西湖、北里湖、小南湖、岳湖大小五個(gè)部分。

潘滄桑同時(shí)點(diǎn)開(kāi)顯示屏，上面有詳細(xì)的景點(diǎn)介紹、文化史跡、旅游線路、公共場(chǎng)所等信息。在沙盤周邊有4個(gè)這樣的顯示屏，參觀者可以通過(guò)點(diǎn)擊屏幕，直觀地感受西湖美景。

潘滄桑說(shuō)，西湖是一泓奇特的水，淡妝濃抹總相宜。幾乎每個(gè)季節(jié)里都能感受到它的美。

西湖的美不僅是陽(yáng)春里夾岸相擁的桃柳，夏日里接天連碧的荷花，秋夜中浸透月光的三潭，冬雪后疏影橫斜的紅梅;更是那煙柳籠紗中的鶯啼，細(xì)雨迷蒙中的樓臺(tái)。

但西湖的美不僅僅停留在風(fēng)景上，更是一種文化的積淀。我們登上飛來(lái)峰，能看見(jiàn)五代至宋、元時(shí)期的200多尊摩崖石刻;流連在六和塔或保俶塔下，能感受到凝聚在這些建筑和雕塑中古人的智慧;孤山南麓的文瀾閣，還是珍藏《四庫(kù)全書(shū)》的七大書(shū)閣之一……

“人們逛西湖，最大的感受是什么？是一種審美共鳴。西湖作為一個(gè)文化湖泊，文化和審美一以貫之地融合著?！痹谂藴嫔？磥?lái)，西湖的獨(dú)特魅力和精神內(nèi)核便在于此。

對(duì)于她來(lái)說(shuō)，最難忘的日子莫過(guò)于2011年6月24日了。那一天，“杭州西湖文化景觀”成功列入《世界遺產(chǎn)名錄》。

“西湖能成為世界文化遺產(chǎn)，最核心的就是它的文化含量，這不是一朝一夕形成的?！迸藴嫔＝榻B，西湖文化景觀是中國(guó)最早的湖泊類文化遺產(chǎn)，它豐富了世界文化遺產(chǎn)的種類，這個(gè)文化含量特別厚重的東方“文化名湖”，自公元9世紀(jì)開(kāi)始就在世界文化交流史上具有廣泛的影響力。

幾個(gè)世紀(jì)以來(lái)，人類與西湖形成良性互動(dòng)，形成了不可分割的文化體;而不斷積累的人類活動(dòng)，又逐漸增加了她的文化內(nèi)涵。

潘滄桑說(shuō)，西湖山水是大自然的杰作，但是湖中的堤島景觀格局則是由后代人類活動(dòng)疊加而成的，都是疏浚的產(chǎn)物。而且最神奇的是，這種景觀格局的形成，是一種持續(xù)了上千年的集體有意識(shí)行為，是歷代有識(shí)之士遵循中國(guó)傳統(tǒng)哲學(xué)和美學(xué)的思想設(shè)計(jì)而成的。

人與自然的和諧共生

走出西湖博物館，沿著南山路西行，潘滄桑帶我們來(lái)到蘇堤。一路湖水與群山緊密相依，群山層疊而舒展，天際線柔和委婉，湖水盈滿平靜，宛若一幅寫(xiě)意的山水長(zhǎng)卷徐徐鋪陳。

“西湖處處皆是景，為什么選這里？”我們有些不解。

潘滄桑解釋說(shuō)：“如果將今日西湖景色看作一幅山水畫(huà)，那蘇堤的修筑，便是早早為這幅畫(huà)作打下了粉本。”

“你看，從這里向東望，眼前一片豁然開(kāi)朗，山巒疊嶂，城區(qū)聚集，特別清晰?！闭驹谔K堤上，潘滄桑贊嘆地說(shuō)，這片山水是自然風(fēng)光和人類勞動(dòng)共同疊加的結(jié)晶。

說(shuō)起西湖，就繞不開(kāi)西湖的治理歷史。蘇堤，正是西湖治理文化的標(biāo)志。這條橫跨西湖南北岸的長(zhǎng)堤，由疏浚挖出的葑草和湖泥堆筑而成，為紀(jì)念蘇東坡治理西湖的功績(jī)而得名。

不知不覺(jué)走到望山橋，蘇堤春曉御碑赫然在目，作為“西湖十景”之首的“蘇堤春曉”家喻戶曉，而這座碑是當(dāng)年康熙南巡時(shí)欽定十景題名留下的原物，可謂彌足珍貴。一邊觀賞著石碑，一邊聽(tīng)著潘滄桑的講述，當(dāng)年蘇東坡疏浚西湖時(shí)的一幕幕仿佛就在眼前：宋元祐四年（公元1089年），西湖淤塞嚴(yán)重，葑田占湖面大半，春來(lái)驟雨成災(zāi)，入夏又遇大旱，早稻無(wú)法下種，晚稻收成無(wú)望。蘇東坡看在眼里，急在心頭。他向朝廷上奏請(qǐng)求疏浚西湖，并非只為觀景，更攸關(guān)民生利害。于是，20多萬(wàn)人挖淤泥、除葑草。此后，為解決大量淤泥無(wú)處堆放的問(wèn)題，也為便利百姓出行，橫穿西湖南北的長(zhǎng)堤橫空出世。

“六橋橫絕天漢上，北山始與南屏通?！碧K東坡留下的這句詩(shī)，足見(jiàn)他對(duì)杭州蘇堤的情感。

西湖水域原是與錢塘江相通的淺海灣，后在錢塘江的大量泥沙沖淤下，大約在2600年前堵塞了灣口，逐漸變?yōu)闉a湖。經(jīng)過(guò)上游溪流及雨水長(zhǎng)期沖刷，又成為淡水湖泊。西湖與江海阻隔后，其易沼澤化的特性就顯露無(wú)遺。

潘滄桑感嘆，“若沒(méi)有歷代的人工疏浚治理，西湖恐怕早已湮滅不存?！比缃?，當(dāng)我們游走在西湖山水中，處處可見(jiàn)人與自然和諧共生的印記。

潘滄桑告訴記者，隋唐時(shí)期杭州城由于地下水咸苦，老百姓只能到西湖取水，生活不便。唐德宗建中年間李泌任杭州刺史，在西湖沿湖開(kāi)鑿水口鋪設(shè)暗渠將西湖水引向人口聚集地，形成六井，同時(shí)也在湖東慢慢形成了城市聚落。李泌是第一個(gè)開(kāi)發(fā)了杭城的地下引水功能的“老市長(zhǎng)”，也奠定了湖東城市的格局。

此后，唐長(zhǎng)慶二年白居易增高堤壩，蓄水灌溉農(nóng)田，疏浚六井，以利民用;吳越王錢镠置撩湖兵，專事治湖，疏通涌金池，引西湖水通運(yùn)河;北宋蘇東坡除修筑長(zhǎng)堤外，還在湖中立三座石塔，嚴(yán)禁湖內(nèi)種植菱藕，再現(xiàn)西湖秀色……據(jù)統(tǒng)計(jì)，從唐代至清代，對(duì)西湖的疏浚從不曾間斷，其中重要的治理不下20次。

梳理歷史，潘滄桑還發(fā)現(xiàn)了一個(gè)有意思的現(xiàn)象，不同年代間在杭州主政的官員都有一個(gè)共識(shí)，即“保護(hù)西湖，還湖于民”。

“從古至今，杭州和西湖的和諧關(guān)系從未被打破?！迸藴嫔；貞?，2001年，西湖綜合保護(hù)工程正式動(dòng)工，保護(hù)修繕、恢復(fù)重建了180多處自然和人文景觀，恢復(fù)西湖水面0.9平方公里。自2002年開(kāi)始，杭州實(shí)行“西湖免費(fèi)開(kāi)放”，迄今已免費(fèi)開(kāi)放的公園景點(diǎn)共130余處。每逢大小長(zhǎng)假，杭州市民和外地游客蜂擁而至，游西湖成了最時(shí)髦的事，這不正是還湖于民的最佳實(shí)踐嗎？

文化基因的沿襲傳承

山環(huán)湖，湖映山，看著一派“城湖合璧”的圖景，潘滄桑思緒萬(wàn)千。

西湖，是杭州的根與魂。綜觀杭州的歷史，西湖興則杭州興，西湖衰則杭州衰。杭州的變遷與西湖的盛衰緊密相連。

“早在南宋時(shí)期，西湖就已經(jīng)有了旅游的概念，出現(xiàn)了一些相對(duì)固定的游玩景點(diǎn)和路線?！迸藴嫔Ｕf(shuō)著，帶我們?nèi)チ水?dāng)時(shí)的“市中心”——南宋御街。

據(jù)《西湖游覽志》記載，古時(shí)的南宋御街全長(zhǎng)約4.2公里，一共使用了一萬(wàn)多塊石板鋪設(shè)。南起皇宮北邊的和寧門外，向北經(jīng)朝天門略向西側(cè)，接著向北段延伸，經(jīng)今天的眾安橋、觀橋，到達(dá)新莊橋，是南宋皇城達(dá)官貴人出行的必經(jīng)之路。

“當(dāng)時(shí)的南宋御街是政治中心、商業(yè)中心和購(gòu)物中心，兩旁集聚了朝廷中樞機(jī)構(gòu)?！迸藴嫔Ｕf(shuō)，不遠(yuǎn)處的西湖，就是南宋王朝的一座大型皇家園林。南宋王朝在西湖邊大建御花園，南有聚景、真珠、南屏，北有集芳、延祥、玉壺，層樓疊閣，藏歌貯舞。

走在南宋御街，流水繞古街，小橋連老鋪，清池圍舊宅，仿佛一部南宋史的縮影，一磚一瓦都散發(fā)著歷史的氣息。若不是曾經(jīng)的兒時(shí)記憶，很難想起整治之前這里破敗不堪的景象。

“南宋御街的改造提出了‘城市復(fù)興的概念，歷史街區(qū)的保護(hù)是要有延續(xù)性的，看似破破爛爛的街道具有城市文化的價(jià)值，守護(hù)著城市的靈魂。設(shè)計(jì)團(tuán)隊(duì)在不動(dòng)遷任何一戶居民的前提下，原地改造所有老舊建筑。”潘滄?；貞?，2009年國(guó)慶節(jié)，經(jīng)過(guò)改造后的南宋御街開(kāi)街迎客。光是鼓樓到西湖大道的1公里路，第一個(gè)星期就吸引了超過(guò)100萬(wàn)人前來(lái)游覽。如今，南宋御街已經(jīng)成為杭州城市文化的標(biāo)簽，保留完整的近代歷史建筑群是游人沿街欣賞的一道風(fēng)景。

如今我們耳熟能詳?shù)奈骱?，濫觴于南宋，景名源自南宋畫(huà)院畫(huà)家馬遠(yuǎn)、陳清波的西湖畫(huà)卷題名?？滴醵啻蝸?lái)到杭州，為西湖的秀麗景色所陶醉。在他的倡導(dǎo)下，“西湖十景”重修園林，題寫(xiě)景名、建造碑亭。乾隆即位后，又為十景親筆題詩(shī)，刻于碑側(cè)。2018年，杭州西湖風(fēng)景名勝區(qū)管委會(huì)啟動(dòng)恢復(fù)“雙峰插云”景觀，彌補(bǔ)西湖十景“十缺一”的遺憾。

西湖的文化基因和風(fēng)骨，也在這樣的街區(qū)和景點(diǎn)恢復(fù)中代代傳承、沿襲至今。西湖申遺成功后，從政府到老百姓對(duì)西湖做的只有一件事：保護(hù)。

潘滄桑說(shuō)起了一個(gè)故事。當(dāng)年西湖申遺的主考官、國(guó)際古跡遺址理事會(huì)（ICOMOS）專家樸素賢在西湖邊走了一圈后，立馬就明白了歷代政府和百姓對(duì)西湖的珍愛(ài)。她驚嘆于城市發(fā)展與湖泊保護(hù)處理得如此完美，這無(wú)疑是歷屆政府與本地居民共同努力的結(jié)果。“原住民本身就是文化景觀的構(gòu)成要素，他們與管理者共同擔(dān)負(fù)著遺產(chǎn)保護(hù)的責(zé)任?！睒闼刭t說(shuō)。

潘滄桑自豪地說(shuō)：“當(dāng)時(shí)專家直言，沒(méi)想到西湖的景色和保護(hù)管理比文本描述的還要好！”

如今，申遺成功已過(guò)去十年，城市的面貌日新月異，西湖也變得更美了。漫步湖邊，我們不禁感慨，千百年來(lái)，正是“親民”才造就了今天的西湖，成就了今天的杭州。

The One and Only West Lake

By Lu Yao? Shen Tingyu? Peng Xianguo

It is always said that of all 36 West Lakes in China， the one in Hangzhou is the best.

Eager to learn more about Hangzhous West Lake， we paid a visit to Pan Cangsang， director of the West Lake Museum. Walking along the heavily shaded Nanshan Road to the bank of the beautiful West Lake was enjoyable， even on a scorching summer afternoon like this.

“So， where should we start？” Pan greeted us in her office with a question. There are just too many to choose from： its natural and culture landscape， as well as the historical literati who lavished praises on the West Lake， contributing to the elegance of Chinese culture. No wonder it is recognized as a world cultural heritage， attracting visitors from all over the country and cherished by local residents.

“Maybe we could start from our museum，” she led us into the West Lake Museum.

The moment we walked into the exhibition hall， our eyes were instantly caught by a giant sand table of the West Lake panorama. The unique layout featuring “One Lake， Two Pagodas， Three Isles and Two Causeways” was already breathtaking as a miniature.

“This is a 1：1000 sand table showing the real West Lake，” introduced Pan. “It gives you a general view about the landscape， ‘hills on three sides and a city on the fourth.”

In fact， the so-called West Lake is not just the lake itself. It has been enriched conceptually since a long time ago to further include the surrounding mountains and hills， and now points to a huge cluster of mountains， hills and waters. Due to geological movement， the age-old mountains in the northwest of West Lake undulate gently from east to west， creating an excellent visual effect. The causeways and islands cleverly divide the lake into five parts： the outer West Lake， the inner West Lake， the north inner lake， the small south lake， and the Yuehu Lake.

While explaining， Pan tapped on a display screen to show us more detailed information such as attractions， cultural and historical sites， tourist routes， and public places. There are four of them around the sand table to serve curious visitors.

The West Lake is renowned for its seasonal beauty. Yet in Pans eyes， the magical charm goes further to a cultural level. In Feilai Peak， for example， there are more than 200 cliff carvings from the Five dynasties to the Song and Yuan dynasties; the wisely constructed Six Harmonies Pagoda and the Baochu Pagoda; and the Wenlan Pavilion at the southern foot of Solitary Hill， one of the seven major imperial libraries， where the Siku Quanshu （the Complete Library of Four Treasures） were stored.

“For people visiting West Lake， the best part is to resonate aesthetically. As a ‘cultural lake， it integrates cultural and aesthetic connotations perfectly well，” said Pan， who believed the spiritual core of the West Lake lies uniquely in its aesthetic value.

For Pan， June 24， 2011 was a day to remember. On that day， the West Lake Cultural Landscape of Hangzhou was inscribed on UNESCOs World Cultural Heritage List.

“The cultural reputation of West Lake， which is the core of a world cultural heritage， is not built overnight，” explained Pan. It is the earliest lake cultural heritage in China， which diversifies the cultural heritages worldwide. Since the 9th century， this oriental cultural lake has already been influential in the history of world cultural exchanges.

Its cultural reputation has been built by human activities as well. It is true that the lake and the hills were crafted by the hands of nature， but the designing and building of the overall landscape， as well as lake dredging， took generations of collective effort for over a thousand years.

Walking out of the West Lake Museum， we were led westbound along Nanshan Road and found ourselves on the Su Causeway， upon which the landscape of West Lake began to take shape. This causeway spanning the north and south of West Lake was named in honor of the achievements of Su Dongpo （1037-1101）， an official who managed to dredge the lake for the wellbeing of the local people.

Listening to Pans narration and watching the stone monument inscribed with the Chinese characters Su Di Chun Xiao， or “Spring Dawn of Su Causeway”， an authentic calligraphy from Emperor Kangxi （1654-1722）， we were impressed by how hard Su Dongpo was working in lake dredging and how deeply he was in love with the West Lake and Hangzhou.

The West Lake was originally a shallow bay connected to the Qiantang River， whose massive sediment caused siltation and gradually turned the bay into a lagoon about 2，600 years ago. And it would not have become the West Lake today but for the continuous water management throughout history. According to statistics， there were at least 20 major water-managing projects from the Tang （618-907） to the Qing （1616-1911） dynasties.

Thanks to Hangzhou officials throughout history who knew well enough to “protect the West Lake and return it to the people”， the harmonious relationship between Hangzhou and the West Lake has never been broken. In 2001， the comprehensive protection project of West Lake officially started， protecting and repairing more than 180 natural and humanistic landscapes， and restoring 0.9 square kilometers of water surface of the West Lake. Starting in 2002， the West Lake was opened to visitors for free， and so far more than 130 parks and attractions have the same path.

“Back in Southern Song dynasty （1127-1279）， the West Lake already saw the dawn of tourism， and some relatively fixed sightseeing spots and routes began to appear，” Pan took us to the “downtown area” of the time， the Southern Song Imperial Street.

According to Xihu Youlanzhi （or West Lake Excursions）， the ancient Southern Song Imperial Street was about 4.2 kilometers long， made of more than 10，000 stone slabs. It was then the political and commercial hub， and also a necessary route for the officials and nobles to travel in the imperial city.

It is worth mentioning that the concept behind the renovation of the Southern Song Imperial Street is “urban revival”， for the seemingly dilapidated streets are believed to contain the value of urban culture and guard the soul of the city.

Nowadays， the Southern Song Dynasty Imperial Street has become a cultural label of Hangzhou， and the well-preserved modern historical building complex a popular scenic spot for visitors to enjoy along the street.

Similarly， thanks to the protective restoration of such neighborhoods and tourist attractions around the West Lake， its cultural genes have also been passed down from generation to generation， making the West Lake， as well as Hangzhou， what it is today.