一支畫筆勾鄉(xiāng)愁

楊群

“小時(shí)候，鄉(xiāng)愁是一枚小小的郵票，我在這頭，母親在那頭……”穿越了近半個(gè)世紀(jì)，很多人還是會(huì)被余光中的《鄉(xiāng)愁》打動(dòng)。

在外游子無論身在何處，心底對(duì)家鄉(xiāng)都有著一絲牽掛。然而，隨著城市化建設(shè)進(jìn)程的加快，年輕勞動(dòng)力紛紛外涌，小時(shí)候隨處可見的古村落正在逐漸走向衰落。

2017年年末之際，作為國(guó)內(nèi)馬克筆畫的先鋒人物，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員、中國(guó)美術(shù)學(xué)院藝術(shù)設(shè)計(jì)職業(yè)技術(shù)學(xué)院副院長(zhǎng)夏克梁帶領(lǐng)“邊走邊畫”寫生團(tuán)隊(duì)，進(jìn)駐三門為當(dāng)?shù)氐墓糯迓渥鳟嫛?/p>

用一支畫筆讓古村古宅永遠(yuǎn)定格，也讓更多人通過他們的畫作，憶起兒時(shí)的故事，喚醒封存的鄉(xiāng)愁，從而讓更多人了解古村落、保護(hù)古村落，這是發(fā)自夏克梁內(nèi)心深處的愿望。

一支畫筆勾起莼鱸之思

冬日的清晨，寒風(fēng)凜凜。踩著一地厚厚落葉發(fā)出的“咔嚓咔嚓”聲，夏克梁和他的隊(duì)員們帶著畫板畫紙，在三門縣橫渡鎮(zhèn)橋頭村尋找合適的角度開始寫生。

橋頭村距離三門縣城30多公里，因一座古橋而得名。200年的樸樹，500年的樟樹，村里常年在參天古樹蔭庇下。這個(gè)歷史悠久的古村落依山傍水，從平地到半山腰，依稀能看出往昔的古宅依地勢(shì)而建，層層遞進(jìn)，錯(cuò)落有致。如今，這些古宅早已荒廢多時(shí)。隆冬的日光，透過茂密的樹葉，投射在石墻上，斑駁的紋路清晰可見。

在一處破敗不堪的老屋前，一堵外墻早已倒塌，梁柱搖搖欲墜，但透過雜草，還能見到石頭砌成的柴灶、煙囪，這里或許也曾伴隨著雞鳴狗吠、炊煙裊裊。

看著一片斷壁殘?jiān)罎M了青苔，夏克梁忍不住扼腕嘆息：“十多年來，走過大江南北，看了不少古村落，與其他木結(jié)構(gòu)為主的民居相比，這里的古宅大多是石頭壘砌，非常獨(dú)特?！?/p>

說著，夏克梁擺好姿勢(shì)，對(duì)著破舊的石屋開始作畫，一筆一劃，細(xì)膩地勾勒著……

夏克梁擅長(zhǎng)鋼筆速寫和馬克筆畫，這類硬筆非常適合表現(xiàn)古民居的樣態(tài)，能帶來更強(qiáng)的視覺沖擊力。但下筆之后不能涂改，作畫中，夏克梁格外認(rèn)真，畫幾筆停下，從上百支筆中再挑選其他顏色的筆，往往完成一幅畫手上都是筆墨。

到了正午時(shí)分，坐了兩三個(gè)小時(shí)的夏克梁站起來抖了抖快要凍僵的身體，而原本毫無生氣的石屋，已躍然紙上，仿佛“活”了過來。

熟悉的人介紹說，夏克梁會(huì)把畫作制成臺(tái)歷、筆記本、T恤等衍生產(chǎn)品，并出版相關(guān)畫冊(cè)，所得稿費(fèi)全部捐贈(zèng)，作為古村落保護(hù)的經(jīng)費(fèi)?！霸S多人看了后驚呼，這就是自己小時(shí)候居住的地方。我們的擅長(zhǎng)是畫畫，也就希望能讓大家通過這一幅幅畫，勾起被遺忘的鄉(xiāng)愁。”他這樣說。

一支隊(duì)伍記錄無限鄉(xiāng)愁

為了完成這樣的愿望，2015年夏克梁創(chuàng)立了“邊走邊畫”寫生團(tuán)隊(duì)，來自五湖四海的藝術(shù)工作者和繪畫愛好者紛紛參與，他們的腳步，到過河北太行山區(qū)英談古寨、福建三明桂峰村等。

2017年夏天，團(tuán)隊(duì)第一次“畫到浙江”，來到麗水松陽沿坑嶺頭村?！八申柟糯迨腔畹?，她充滿自然的生活氣息，這非常難得?！毕目肆赫J(rèn)為，保護(hù)古村落是艱難的一個(gè)課題，有人氣才是保護(hù)古村的關(guān)鍵所在。

古村的深夜伸手不見五指，在村旁的三門山海寫生基地里，“邊走邊畫”寫生團(tuán)隊(duì)挑燈夜戰(zhàn)。

這個(gè)由10人組成的團(tuán)隊(duì)，成員來自山東、安徽、河南、湖南等地。這是鮑堯君第三次來到橫渡鎮(zhèn)寫生，每次來都感覺意猶未盡。有一次，他走進(jìn)巖下村一個(gè)歷史悠久的四合院，里面飄出上世紀(jì)90年代的流行歌曲，他猛然憶起年輕時(shí)，曾在這樣的老房子聽過相同的歌曲?！鞍遵x過隙，時(shí)間再也回不去，我就把院子畫下來，留住一份念想。”

鮑堯君畫過這里的古村、古宅、古橋和古樹，在他的畫筆下，那些滄桑的建筑仿佛恢復(fù)了往日的生命力?！翱粗@些古村里的老宅，邊畫邊想，以前這里肯定是歡聲笑語，只不過現(xiàn)在人去樓空，希望今后能恢復(fù)往日的活力?！?/p>

學(xué)建筑出身的王夏露，興致十足地研究起了建筑形態(tài)：“特別喜歡古時(shí)的房屋，不僅有歷史感，還有地域性，像橋頭村都是一長(zhǎng)排朝南的布局，我剛才在后山看到了許多大塊的巖石，可以看出是就地取材?！?/p>

地道的北方大漢孟現(xiàn)凱，頭一次體會(huì)到江南嚴(yán)冬那種無孔不入的濕冷，被凍得不行。“原來你們這里也要穿羽絨服的！”盡管冷風(fēng)刺骨，他欣賞古村的腳步從未停下。

除了古村落，舌尖上的三門也令一行人大呼過癮。在這個(gè)東?！包S金灘”邊，他們品嘗了三門青蟹、梭子蟹、牡蠣等美味佳肴。當(dāng)晚，土生土長(zhǎng)的湘妹子王瑋璐臨時(shí)興起，畫起了皮皮蝦、青蟹。她俏皮地對(duì)筆者說：“寫生結(jié)束后要交作業(yè)，這就是我的作業(yè)啦?！?/p>

一座古村重?zé)ú鷻C(jī)

為期3天的寫生，很快到了尾聲。當(dāng)收起畫板，背起行囊走出古村時(shí)，83歲的橋頭村村民王桂花站在村口，依依不舍地目送夏克梁一行人?！案兄x他們來這里畫畫，把我們村宣傳出去，這樣來的人就會(huì)更多。人多了，村子就會(huì)建得更好?！?/p>

“露從今夜白，月是故鄉(xiāng)明。”心里充滿感激的還有三門山海寫生基地負(fù)責(zé)人、在杭鄉(xiāng)賢毛玲君。寫生基地于2017年10月開始試運(yùn)營(yíng)，接待全國(guó)各高校、畫室等藝術(shù)類學(xué)生來三門古村、港口寫生。這次迎來的大咖令人喜出望外?！拔乙恢备鴮懮鷪F(tuán)隊(duì)穿梭于各個(gè)古村落，觀察他們的寫生方式，他們提議可以把橫渡鎮(zhèn)、花橋鎮(zhèn)這些古村落串聯(lián)起來，做個(gè)寫生地圖，這對(duì)我們來說很有啟發(fā)性?！?/p>

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“從2005年開始，三門就致力于保護(hù)古村落?！比T縣文廣新局局長(zhǎng)陳錢明介紹，三門歷來高度重視古村落的保護(hù)和開發(fā)，尤其自小城鎮(zhèn)環(huán)境綜合整治開展以來，更是重視古村落環(huán)境綜合整治，努力確保古村“古而不破”、“古而不臭”、“古而不臟”，推進(jìn)古村露天糞坑整治，實(shí)現(xiàn)公廁全覆蓋，全面整治門前屋后亂堆亂放、古村范圍亂貼亂畫，樹立“人人都是保潔員”意識(shí)。

夏克梁和“邊走邊畫”寫生團(tuán)隊(duì)成員還很高興地了解到，三門堅(jiān)持“修舊如舊”的原則，對(duì)東屏、巖下、橋頭等古村進(jìn)行大規(guī)模修復(fù)，并完善防蟲、防火、防雷等設(shè)施。充分挖掘巖下古村地形風(fēng)貌、“串樓”建筑、“灰雕”裝飾、多形態(tài)“金井”等特色文化，將巖下打造成“屋為日，地為月，井為星，紫微照北斗”的星象古村;挖掘近代抗倭歷史名人典故、古井傳說等文化素材，打造了“海防文化第一村”東屏村，展示明清兩朝古建筑風(fēng)貌特色。

其中三門縣東屏村還創(chuàng)新提出菜單式修繕及出資，有效解決了古建產(chǎn)權(quán)問題。在東屏經(jīng)驗(yàn)的基礎(chǔ)上，巖下村實(shí)行產(chǎn)權(quán)折算入股的形式，按照房屋的規(guī)格、完好情況等折算成股份入村集體賬戶，以后的開發(fā)使用等由村集體統(tǒng)一協(xié)調(diào)解決，進(jìn)一步方便了后續(xù)的修繕以及開發(fā)利用。

古村落保護(hù)與利用，道阻且長(zhǎng)。但是每一點(diǎn)的改變與提升，都是前進(jìn)路上的熠熠星光。夏克梁和“邊走邊畫”寫生團(tuán)隊(duì)成員的心里，都始終堅(jiān)信這一點(diǎn)。

Xia Keliang， a leading figure in the marker pen art of China， arrived in Sanmen in the year-end freezing cold of 2017 as a resident artist. Xia Keliang is also the deputy dean of an affiliated art school of China Academy of Art and a member of China Artists Association. Xias mission in this three-day ‘a(chǎn)rtist-in-residence program was to share the forgotten beauty of ancient villages in Sanmen County and revive the awareness of rural cultural protection amidst the irresistible tides of urbanization.

The winter had been quietly integrated into the life of people in Sanmen. The wind was piercingly cold. Xia Keliang took his team to a village in the countys Hengdu Town， about 30 kilometers from the countys capital. Named after an age-old bridge， the village is a treasure trove of ancient camphor trees reaching into the sky and folk dwellings of elegant， primitive simplicity.

“Of all the ancient villages I have been to over the years， this one is quite unique in terms of its distinct architectural features，” said the artist， standing in front of a dilapidated house in the village where only the kitchen smoke betrayed where the dwelling lies.

For Xia Keliang， specializing in drawing with pens and markers， the unique architectural charm of the village seemed to be a perfect match with the hard-tipped tools he used. However， the painting process was a one-off thing， which added to the difficulty level of the final presentation.

All monetary rewards produced by the works created from the residence program will be turned over to the village for its cultural protection. “The plan is to remake the drawings into desk calendars， notebooks and T-shirts，” the artist revealed.

Xia Keliang launched a ‘paint-from-life group in 2015. The group of artists and art enthusiasts from all over the country has left footprints in many out-of-the-way places such as Yingtan （a village of stone houses in the Taihang Mountain area） and Guifeng Village in Fujian Province. The first village the group visited in Zhejiang was Lingtou， in Songyang County in the southwest of the province. “The villages in Songyang are a living history， which is very rare，” recalled Xia Keliang.endprint

Bao Yaojun was one of the 10 artists taking part in the drawing campaign in Sanmen， and this was his third time in Hengdu Town. “Time flies and no one can travel back to the past， and thats where art comes in，” the artist commented， admiring a courtyard dwelling in Yanxia Village. “When I was standing in front of the easel， I could visualize the life that was once here.”

For Wang Xialu， whose educational specialization is architecture， the stone houses in Qiaotou Village opened her eyes. And for Wang Weilu， from Hunan Province， a seafood banquet that wrapped up the three-day art tour inspired her. She created seafood drawings and handed them in as her tour report.

Hangzhou-based Mao Lingjun， a Sanmen native， is in charge of the sketch base in Sanmen， which was launched in 2017. He observed Xia Keliang and his colleagues working through the 3-day project. “Having spent the three days with Xia Keliang and his team， I think I am ready to start working on a ‘map for sketchers Ive been thinking about for a long time，” said Mao Lingjun.

The local government is investing heavily in village maintenance and protection， with the current work concentrating in Dongping， Yanxia and Qiaotou. The protection endeavors aim to restore the original architectural framework of the villages and inject more cultural elements into the villages stone fa?ade. Dongping Village takes the lead in reforming property right management and has shared its experiences with Yanxia Village， where property rights of houses are converted into shares to get ready for future development.

The countrys village protection still has a long way to go. For Xia Keliang and his like-minded friends， the most important thing is to take actions and make progresses.endprint