孤山寺跡何處尋

司馬一民

說(shuō)到描寫(xiě)杭州西湖景色膾炙人口的詩(shī)，唐代白居易的《錢(qián)塘湖春行》肯定是其中之一：“孤山寺北賈亭西……”

年少時(shí)讀這首詩(shī)，對(duì)“孤山寺”三個(gè)字并不在意，前時(shí)去孤山，進(jìn)中山公園大門(mén)，走棧道看清行宮遺跡，隨口吟誦“孤山寺北賈亭西……”忽然想：孤山寺在哪里？上孤山尋了一圈，未見(jiàn)有任何遺跡。既然白居易有“孤山寺北賈亭西”詩(shī)句，孤山上肯定曾經(jīng)有過(guò)孤山寺。

查閱史料、翻閱古詩(shī)文，有關(guān)孤山寺的詩(shī)還真不少。除了《錢(qián)塘湖春行》，白居易還有《西湖晚歸回望孤山寺贈(zèng)諸客》《孤山寺遇雨》。而與白居易同時(shí)代的張祜（785—849年，字承吉，清河人，隱士）則寫(xiě)有《題杭州孤山寺》：樓臺(tái)聳碧岑，一徑入湖心。不雨山長(zhǎng)潤(rùn)，無(wú)云水自陰。斷橋荒蘚澀，空院落花深。猶憶西窗月，鐘聲在北林。

張祜這首詩(shī)對(duì)孤山寺有細(xì)致描述：高聳的樓臺(tái)建在陡峭的山上，一條小路直通湖心中央;即使不下雨山色也經(jīng)常郁郁蔥蔥，哪怕沒(méi)有云彩水面也是湛藍(lán)湛藍(lán)的;遠(yuǎn)處斷橋上長(zhǎng)滿(mǎn)了斑駁的苔蘚，近處院落里鋪滿(mǎn)了落花;想起當(dāng)年在西窗望月時(shí)的情景，悠揚(yáng)的鐘聲從山北的林中傳來(lái)。

與白居易同時(shí)代的許渾（約791—858年，字用晦，潤(rùn)州人，多寫(xiě)田園詩(shī)）寫(xiě)有《夜歸孤山寺卻寄盧郎中》：青山有志路猶賒，心在琴書(shū)自憶家。醉別庾樓山色曉，夜歸蕭寺月光斜。落帆露濕回塘柳，別院風(fēng)驚滿(mǎn)地花。他日此身須報(bào)德，莫言空愛(ài)舊煙霞。

許渾這首詩(shī)描述了作者夜歸孤山寺的情景?！耙箽w”二字表示作者寄宿孤山寺已非一日?？梢?jiàn)在唐代，孤山寺僧人就與文人學(xué)士多有交往。

幾百年以后，到了宋代，孤山寺僧人仍然與文人學(xué)士多有交往。北宋林和靖即林逋（967—1028年），字君復(fù)，錢(qián)塘人，幼時(shí)刻苦好學(xué)，通曉經(jīng)史百家，后隱居西湖孤山，養(yǎng)鶴植梅，宋仁宗賜謚“和靖先生”，他寫(xiě)有《孤山寺》：云峰水樹(shù)南朝寺，祇隔叢篁作并鄰。破殿靜披虀臼古，齋房閑試酷奴春。白公睡閣幽如畫(huà)，張祜詩(shī)牌妙入神。乘興醉來(lái)拖木突，翠苔蒼蘚石磷磷。

在林和靖筆下，古樸的孤山寺仍然留有白居易和張祜的蹤跡。

林和靖還有一首《孤山寺端上人房寫(xiě)望》：底處憑闌思渺然，孤山塔后閣西偏。陰沉畫(huà)軸林間寺，零落棋枰葑上田。秋景有時(shí)飛獨(dú)鳥(niǎo)，夕陽(yáng)無(wú)事起寒煙。遲留更愛(ài)吾廬近，只待重來(lái)看雪天。

林和靖在孤山寺端上人房間里憑欄遠(yuǎn)眺：透過(guò)陰郁的樹(shù)林，隱隱約約可看見(jiàn)寺院，水面上一塊塊的架田（即葑田）零星地飄著，好似棋盤(pán)上的方格子。夕陽(yáng)下這里很安靜，農(nóng)失們都已荷鋤歸家了，遠(yuǎn)處炊煙裊裊，偶爾飛過(guò)一只小鳥(niǎo)。我喜愛(ài)這個(gè)與自己家相近的地方，可以遲一點(diǎn)回家。等到雪花紛飛時(shí)，再來(lái)這里觀(guān)賞雪景。

林和靖隱居地與孤山寺同在孤山，他能進(jìn)入端上人房?jī)?nèi)飽覽湖光山色，可見(jiàn)他與僧人多有交往。

蘇東坡也與孤山寺僧人有交往，他的《臘日游孤山訪(fǎng)惠勤惠思二僧》，記錄了大冬天里上孤山寺的情形 ：天欲雪，云滿(mǎn)湖，樓臺(tái)明滅山有無(wú)。水清出石魚(yú)可數(shù)，林深無(wú)人鳥(niǎo)相呼。臘日不歸對(duì)妻孥，名尋道人實(shí)自?shī)省５廊酥釉诤卧S？寶云山前路盤(pán)紆。孤山孤絕誰(shuí)肯廬？道人有道山不孤。紙窗竹屋深自暖，擁褐坐睡依團(tuán)蒲。天寒路遠(yuǎn)愁仆夫，整駕催歸及未晡。出山回望云木合，但見(jiàn)野鶻盤(pán)浮圖。茲游淡薄歡有余，到家怳如夢(mèng)遽遽。作詩(shī)火急追亡逋，清景一失后難摹。

熙寧四年（1071年），蘇東坡上書(shū)批評(píng)新法的弊病得罪王安石，十二月被貶往杭州任通判，他游孤山訪(fǎng)惠勤、惠思后作此詩(shī)，惠勤、惠思都是余杭人，都擅長(zhǎng)寫(xiě)詩(shī)。

這首詩(shī)大意為：西湖上空陰云密布，將要下雪;遠(yuǎn)處的樓臺(tái)與青山隱隱約約，似有似無(wú)。山中溪水清清，可以看見(jiàn)水底的鵝卵石，那些游來(lái)游去的魚(yú)清晰可數(shù);幽深的樹(shù)林看不見(jiàn)人的蹤跡，只有鳥(niǎo)鳴與我相應(yīng)。今天是臘日，我不在家陪著妻子兒女，說(shuō)是去尋訪(fǎng)僧人，其實(shí)是尋找快樂(lè)。僧人的禪房在哪里？就在小道狹窄彎彎曲曲的寶云山前。孤山孤獨(dú)地聳立在那里，有誰(shuí)愿意住在這孤獨(dú)的地方？只有道行高深的僧人，居住在孤山，而不覺(jué)得孤單。雖然窗紙薄、竹屋透風(fēng)，卻仍然感到很暖和，惠勤與惠思，他們裹著僧衣，在蒲團(tuán)上打坐修行。天寒路遠(yuǎn)，仆人催我趕快回家，告別惠勤與惠思時(shí)，還沒(méi)有到晚餐的時(shí)候呢。離開(kāi)孤山回頭眺望山中景色，樹(shù)林被厚厚的煙云籠罩著，野鶻在佛塔上空飛翔盤(pán)旋。這次出游孤山雖然簡(jiǎn)單，但我心中感到非?？鞓?lè)?；氐郊抑羞€神思恍惚，真像是剛從夢(mèng)中醒來(lái)的那樣，不過(guò)出游的經(jīng)歷還歷歷在目。我急忙提筆寫(xiě)下了這首詩(shī)記錄出游孤山的經(jīng)歷，唯恐稍有延遲，那些清麗的景色會(huì)從我腦海中消失，再也無(wú)法描摹。

蘇東坡雖然是初次造訪(fǎng)孤山寺，對(duì)孤山寺的喜愛(ài)已經(jīng)流露于筆端，當(dāng)然也可能與惠勤、惠思很投緣。

孤山寺確實(shí)在中唐就有，不僅古詩(shī)中有描述，史料中也有記載，我們從白居易的好友元稹的《永福寺石壁法華經(jīng)記》中可以略知一二：“按沙門(mén)釋惠皎自狀其事云：永福寺一名孤山寺，在杭州錢(qián)塘湖心孤山上。石壁《法華經(jīng)》在寺之中，始以元和十二年嚴(yán)休復(fù)為刺史時(shí)惠皎萌厥心，卒以長(zhǎng)慶四年白居易為剌史時(shí)成厥事。上下其石六尺有五寸，短長(zhǎng)其石五十七尺有六寸，座周於下，藎周於上，堂周於石，砌周於堂?！保ā度莆摹肪砹傥迨模?。

至于孤山寺何時(shí)湮滅，未知。南宋時(shí)孤山建有西太乙宮、四圣延祥觀(guān)，后湮滅。到了清代，康熙、乾隆時(shí)，孤山建有行宮，至今遺跡尚在。

（作者系杭州市政協(xié)智庫(kù)專(zhuān)家、文史專(zhuān)家

Gushan Temple： Where Art Thou？

By Sima Yimin

When people think of popular poems on the sceneries of the West Lake， one that invariably springs to mind is A Springtime Walk by the Qiantang Lake or Qiantang Hu Chunxing， by the Tang （618-907） poet Bai Juyi （772-846）. As the governor of Hangzhou， it is little surprise that Bai wrote extensively on the city and the West Lake， alternatively known as the Qiantang Lake.

“North of the Gushan Temple and west of the Jia Pavilion，” the first line of the poem goes. While most in China are able to recite it and the entire poem， few perhaps have dug deeper and gone a step further： exactly where is the Gushan Temple？

As its name and the poem suggest， the temple is supposed to be on Gushan， or the Solitary Hill. However， it is now nowhere to be found around the hill. So where is it？ Or more precisely where was it？

References to Gushan Temple abound in historical records and poems. Apart from A Springtime Walk by the Qiantang Lake， Bai Juyi also composed two other poems about the temple. In On the Gushan Temple in Hangzhou， Zhang Hu （785-849）， a contemporary of Bai， reminisced about the place after his travels there：

Above the green ridge a pavilion rises， and to the heart of the lake a path winds.

Without rain the hills moist stays， and without clouds the waters cool remains.

On the Broken Bridge mosses scatter， and in the empty courtyard fallen flowers gather.

Still remember the bright moon by the western window， and the bells in the northern forest below.

Zhangs poem indicates there were a number of temples on the hill and Gushan Temple was only one of them， whose monks were in close contact with poets and literary figures like Bai and Zhang， as Xu Hun （791-858）， another poet at the time， wrote， “Bidding adieu to the tavern at daybreak after drinking all night， the moon is already setting as I return to the temple.” Apparently， Xu had been put up at the Gushan Temple for some time.

About two centuries later， in the Song dynasty （960-1279）， the Gushan Temple was still one of the favorite places that literati frequented. Indeed， the names of Bai Juyi and Zhang Hu were mentioned as well now and then in their writings. Lin Bu （967-1028）， that great Song hermit who had been single all his life and had famously taken plum trees as his wives and cranes as his sons， spoke glowingly of them in his poem Gushan Temple： “Honorable Bais bedchamber is as serene as a painting， and Zhang Hus verses are as ingenious as they are enthralling.”

In fact， the Song poets and scholars were in close touch with the monks of the Gushan Temple， too. “Thoughts fly high and above as I lean upon a balcony looking far， in a western chamber behind the tower on the Solitary Hill，” in another poem， Lin wrote of his looking into the distance in a monks room at the temple.

Then there was Su Shi （1037-1101）， aka Su Dongpo， whom it would be a great remiss not to mention. In the year 1071， Su was exiled and took up the post of assistant prefect of Hangzhou as he was embroiled in factional fights in the imperial court.

In the 12th lunar month of the same year， Su penned a poem after visiting two monks on the Solitary Hill. In Traveling to the Solitary Hill and Visiting the Two Monks Huiqin and Huisi on Laba Festival， he described：

The sky portends snow， as clouds drape over the lake.

Pavilions and towers light up and dim down， as hills emerge and submerge.

Rocks surface from clear waters that fish can be counted.

Deep in the forest no one but birds echo on another.

On the Laba Festival， to be with my family I am not.

I say Im seeking out men of the Way but its more to have some fun.

These men of the Way， where are their abodes？

A winding path at the foot of the Precious Cloud hill points to the way.

The Solitary Hill is such a lonely place that whod lodge here？

But men of the Way， having the Way， make the hill not so lonely.

Paper rooms and bamboo rooms keep them warm，

In coarse clothes， they sit and sleep on futons.

It is cold and the road long， worrying my servant.

He readies my coach and urges me to return home before dusk.

Leaving the hill， I look back at where the trees meet the clouds，

All I see are wild falcons circling the pagoda.

Its been a simple journey， but gives much joy.

Coming home， Im all dazed as if in a trance.

Quickly I write down this poem before the images escape my mind，

For a pure scene， once lost， will be hard to recapture.

Although it was the first time that he had visited the Gushan Temple， Su Shi evidently took an immediate liking to the place， either because of the scenery or his pleasant talks with the two monks.

While historical records and literary references such as the above poems clearly show that the Gushan Temple had already been there during the mid-Tang and flourished well into the Song dynasty， it remains unclear when exactly the temple fell.