丟在古老廊橋的“魂”

陸春祥

松陽(yáng)產(chǎn)名嘴。

南宋周密的筆記《癸辛雜識(shí)》續(xù)集上，有《訟學(xué)業(yè)觜社》，曾說(shuō)到松陽(yáng)人嘴的厲害。我到松陽(yáng)，松陽(yáng)人這樣形容能說(shuō)的 ：甲厲害，能將樹(shù)上的鳥(niǎo)兒騙下來(lái)。還要再加一句 ：乙勝甲，他能將騙下的鳥(niǎo)兒，再騙上樹(shù)去！

一些古籍里的名嘴成了歷史。如今，松陽(yáng)有了新名嘴，魯名嘴，魯曉敏，《廊橋筆記》的作者。他不騙，他能寫(xiě)，寫(xiě)有數(shù)百萬(wàn)字的老房子、廊橋等古建筑。他也能說(shuō)，一肚皮的山貨，老房子、古建筑，變成活靈活現(xiàn)的歷史。

松陽(yáng)、浙江、全國(guó)的廊橋，在曉敏嘴里如珍珠樣瀉出，好聽(tīng)又好看。他先將家鄉(xiāng)松陽(yáng)吃透研碎。松陽(yáng)有一百多個(gè)保存相當(dāng)完整的古村落，中國(guó)傳統(tǒng)村落就有75個(gè)，在全國(guó)都排得上號(hào)。他將這些散落在浙西南深山里的明珠，一顆顆披灰揀拾，向外賣力推薦。

那一次，我跟著他走進(jìn)了黃家大院，他展示了他的名嘴實(shí)力。曉敏戴著導(dǎo)游的耳麥，以一個(gè)地道的松陽(yáng)人、文史專家和作家的多重身份，將他眼中的黃家大院，一點(diǎn)點(diǎn)解構(gòu)給人看。那些木雕、磚雕、牛腿，金木水火土，幾乎所有的技術(shù)名詞，他張口就來(lái)，來(lái)龍去脈，加上人物事件，演繹得活龍活現(xiàn)，仿佛他就在事件現(xiàn)場(chǎng)。

我問(wèn)過(guò)曉敏，為什么這么喜歡古建筑？為什么這么喜歡古村落？或者，是什么讓你的魂丟在了這些古老的廊橋上？

他給我講了兩個(gè)小故事。

第一個(gè)故事。他讀小學(xué)時(shí)，比較玩皮，不太愛(ài)讀書(shū)，有天，應(yīng)該是犯了比較大的錯(cuò)誤，被父母關(guān)進(jìn)書(shū)房，閉門(mén)思過(guò)。百無(wú)聊賴中，他將父親書(shū)架上的一本《世界建筑100例》拿下來(lái)看，其中有不少中國(guó)古建筑，一看就被迷上，直到整本書(shū)看完，他又向搞建筑的父親要來(lái)了其他書(shū)。古建筑的書(shū)，越讀越多，于是對(duì)古建筑涉及的人文呀、歷史呀、地理呀、風(fēng)水呀也統(tǒng)統(tǒng)關(guān)注。關(guān)于地理風(fēng)水之類，曉敏走到哪兒，都是張口就來(lái)，他說(shuō)起來(lái)寫(xiě)起來(lái)都是一套一套的，讓我們膜拜。

第二個(gè)故事。有一年，他邀我去松陽(yáng)講座，陪我去了松陽(yáng)的山下陽(yáng)村，斑剝的泥墻下，他向我講述了另外一個(gè)原因。他在供電公司工作，有時(shí)用戶欠費(fèi)，就要上門(mén)催費(fèi)，串村走巷，走得多了，一些老村里的牌坊呀青石門(mén)楣呀，老房子里的廳柱呀匾額呀，許多破敗的元素，將他腦子里已存的古建筑知識(shí)紛紛激活。我在松陽(yáng)的黃家大院，就充分領(lǐng)略了曉敏對(duì)古建筑的造詣，他邊走邊為我講解，引經(jīng)據(jù)典，條理清晰，歷史年份，細(xì)小數(shù)據(jù)，一一確鑿，卻不時(shí)加上自己的見(jiàn)解，我覺(jué)得，寫(xiě)出來(lái)，就是一篇極好的文章。

我似乎看到了一個(gè)古橋愛(ài)好者，不遠(yuǎn)百里，起早貪黑，在鄉(xiāng)間出沒(méi)，鉆進(jìn)鉆出，撲上撲下，目測(cè)手測(cè)線測(cè)，訪東問(wèn)西，然后，又趴在故紙堆里，尋圖窮跡，為了廊橋，為了古村落，他把業(yè)余時(shí)間都搭上了。

現(xiàn)在，我和朋友們自然知道了，興趣是他最好的老師，他為什么能把廊橋像庖丁解牛一樣解構(gòu)得那么游刃有余了。

魯曉敏的魂，不僅僅是丟在了松陽(yáng)、慶元、泰順、景寧等浙南山區(qū)的古老廊橋上，他“魂不守舍”，他的眼光，早已從浙江移步至全國(guó)，他在古徽州的徽派廊橋上久久流連，在閩粵贛風(fēng)格多樣的客家廊橋上依依不舍，在湘桂黔崇山峻嶺間的侗家廊橋上流連忘返，也在湘渝鄂桃花源中的廊橋上樂(lè)不思浙，數(shù)年來(lái)，他就像徐宏祖那樣，為著一個(gè)目標(biāo)，在奔跑中體驗(yàn)中尋找他深厚的發(fā)現(xiàn)。

廊橋、古村落、老房子，魯曉敏都喜歡到了骨髓里，是他的魂魄所在，也是他獨(dú)特的文字王國(guó)，他將它們大卸十六塊，再?gòu)乃P下迸發(fā)出來(lái)，就成了廊橋下面那不絕的嘩嘩溪流，悅耳動(dòng)聽(tīng)。

（作者系浙江省作協(xié)副主席）

Ancient Covered Bridge as a Soul Paradise

By? ?Lu Chunxiang

Lu Xiaomin was born in Songyang， Zhejiang. And Songyang is home to good talkers.

When I visited Songyang， I heard some local description on good talkers： a good talker could trick a bird on the tree into flying down， and a better talker could then talk it into flying back on the tree.

Some good Songyang talkers recorded in ancient books are a thing of the past. But Lu Xiaomin is certainly one of the best today. Instead of tricking， he can write and has written millions of words about the old buildings there. He also talks， turning tons of interesting anecdotes about local ancient architecture into vivid oral history. The stories of covered bridges of Songyang， and even the entire country， keep falling from his lips like pearls， nice on the ear and easy to visualize.

In his book， Notes on Covered Bridges， Lu started introducing the covered bridges from his hometown， which he knows inside out. There are over 100 well-preserved ancient villages. They are like pearls scattered deep inside the southwestern mountains in Zhejiang， which Lu picked up， dust off and has been trying to sell to the outside world.

There was this one time that I followed him into the Huang Compound， and he showed me how good a storyteller he is. Wearing a tour guide’s earphone， Lu explained bit by bit the Huang Compound in his eyes， as a literary historical expert， writer and Songyang native. Almost all the technical terms related to wood carving， brick carving and bracket just fell incessantly off his lips， and the full story， the people and incidents involved were told by him in such a life-like style that as if he were there on the scene.

What makes him so fond of these old buildings and ancient villages？

When he was a primary school student， he was quite naughty and did not like studying. One day he was shut by his parents into the study for doing something really wrong， and made to reflect on his mistake there. Having nothing to do， he picked a book on world architecture from his father’s collection， and was fascinated by it， where a lot of Chinese ancient architecture was introduced. That was the start of his passion for ancient architecture.

One year he invited me to come to Songyang and give a lecture there， and accompanied me to the Shanxiayang village， where he gave me the second answer to my question. He once worked at a local power grid， and sometimes had to collect overdue electrical bills door to door. Walking around the village， he gradually grew familiar with the pagodas， the old houses with their halls， pillars， plaques and everything. These weathered parts of the village have activated his knowledge of ancient architecture.

I seem to see right in front of my eyes an industrious lover of ancient bridges who have run miles and dug deep into ancient maps whenever he is free for research on his beloved covered bridges and villages. Now I understand how interest is his best teacher and why he could describe the covered bridges so skillfully and with so much ease.

And his attention for covered bridges has gone beyond Zhejiang to cover the whole country. He just loves these things to the bone — they are the paradise for his soul， and the inspiration of his literary realm. With his magic pen， he decomposes them and reproduces them into a melodious， endless river.