風(fēng)從田野來

文 /李 蔚

1985年，杭州蕭山衙前鎮(zhèn)原交通村農(nóng)戶購買的12英寸西湖牌黑白電視機(jī)。當(dāng)初電視機(jī)的價(jià)格360元一臺(tái)，由村辦交通五金廠補(bǔ)貼。唐志揚(yáng)/攝In 1985, local residents bought a 12-inch West Lake black and white TV set in Yaqian township, Hangzhou’s Xiaoshan district, Hangzhou. The price was 360 yuan, which was subsidized. Photo by Tang Zhiyang.

藝術(shù)來源于生活。生活的源，在哪里？采風(fēng)，是攝影者去捕捉畫面的重要手段，也是我們尋根溯源的必行之路。

風(fēng)從何處來？就在鄉(xiāng)間地頭、村前屋后、街頭巷尾，就在傾聽普通人的生活細(xì)節(jié)，就在我們腳踏的這片土地的最深處?！澳阍跇蛏峡达L(fēng)景，我在橋下看你”，見微知著，讓我們一起讀懂生活在這片土地上人們的可愛，以及攝影者通過他們體悟到的這片土地的可愛。

生長(zhǎng)著的鄉(xiāng)村

過橋，一拐進(jìn)杭州蕭山所前鎮(zhèn)三泉王村的地界，周國(guó)峰就張望到村委會(huì)大樓前方那片青綠園子，“這是跟企業(yè)合作的親子菜園，上次我來時(shí)還只是一塊半荒的菜園，這么快就搞好了”。

周國(guó)峰，蕭山人，“玩”相機(jī)已有10多年，從去年7月開始，他和其他60多位攝影師一起，參加了“生長(zhǎng)著的鄉(xiāng)村”美麗鄉(xiāng)村駐地?cái)z影活動(dòng)。

作為這次活動(dòng)的成果展示，今年11月浙江展覽館曾舉辦了一次尤為特別的攝影展。

展覽期間，一顆還掛在枝頭的紅心李被放大在一整面墻上，全場(chǎng)數(shù)它最誘人。果皮最外面，是一層粉霜，那是紅心李所分泌的糖醇類物質(zhì)，霧似的質(zhì)感襯得果肉越發(fā)紅艷誘人，而滲出的汁水恰好就停在了切面的下緣……

“這是最好的帶貨了。”三泉王村黨委書記王海勇說，人人都知道蕭山所前鎮(zhèn)的杜家楊梅，終于輪到三泉王村的紅心李了。

“一顆紅心李的故事”是周國(guó)峰駐地三泉王村拍攝的主題之一，除了現(xiàn)場(chǎng)有部分展示，還被制作成了精美圖冊(cè)，收在三泉王村里的“鄉(xiāng)村盒子”里。

20個(gè)村莊，有20個(gè)“鄉(xiāng)村盒子”。

展覽的首批觀眾中，有不少來自這20個(gè)村。隨便打開一個(gè)，有村民的肖像集冊(cè)，有四世同堂家庭的口述文本，有村里人家“老物件”的圖集，有村植物志、建筑集，還有家家戶戶的水缸、民俗傳說的演繹……他們沒想到，有一天，長(zhǎng)輩口中的一段記憶，日常生活中的平凡人事，鄉(xiāng)村風(fēng)貌變化的點(diǎn)滴，都被如此真實(shí)且詳盡地以影像的方式記錄下來。

策展人之一、著名攝影家傅擁軍說，這樣大規(guī)模的鄉(xiāng)村影像田野調(diào)查展覽在國(guó)內(nèi)也是不多見的—近60多位浙江省內(nèi)一線攝影師、省攝影“新峰”人才，以蕭山20個(gè)村莊為樣板和對(duì)象，前后耗時(shí)兩年，采集和創(chuàng)作了5萬余件鄉(xiāng)村影像資料。

“其實(shí)盒子里也只是一小部分。”傅擁軍說，他們記錄下的是更廣闊空間里的新時(shí)代浙江農(nóng)村的新面貌、農(nóng)民的新形象、農(nóng)業(yè)的新成就，這是一份為新時(shí)代鄉(xiāng)村建立的鄉(xiāng)村檔案。

紅心李的故事

每年三四月，一片香雪海。三泉王村中漫山李花綻放的盛景，周國(guó)鋒和他的同行們幾乎一年不落，但似乎從未有攝影師好奇這一大片李樹林后來發(fā)生了什么。

四月的尾巴，李花謝盡，枝頭新冒出一簇簇指尖般大的青綠小果。周國(guó)峰又來了，村里轉(zhuǎn)，山上鉆，時(shí)不時(shí)咔嚓拍下幾張。“碰到的村民都跟我說，過兩三個(gè)月，一定要再來，嘗嘗熟透的紅心李。”周國(guó)峰的好奇心就這樣被勾起了。

三泉王村是中國(guó)最大的紅心李集中栽種地之一。因富硒土壤，出產(chǎn)的紅心李是全村人的自豪，“跟其他的（果子）兩樣煞的”。

王建傳，村里的茶果栽培專家，與周國(guó)峰緣分不淺?！懊看嗡麃?，都會(huì)跟著我上山拍。”上山要爬三四公里的山路。戴著村民送的草帽，周國(guó)峰背著沉重的器材，走在蟬聲一片的山林小路上。

夏至?xí)r節(jié)，紅心李終于熟了。“李子么，再甜能甜到哪里去？”周國(guó)峰不抱太大期望地咬下了親手摘下的紅心李，“真甜！”他終于明白，村民的自豪是多有底氣了?？墒牵t心李其貌不揚(yáng)，為了把它拍得更上照，周國(guó)鋒向同行取經(jīng)。有位指導(dǎo)老師提醒：“可以切開來嘛?！?/p>

切開來，好點(diǎn)子；切得好，卻不易?！斑@一刀，切面要齊整，不能有一棱棱的割痕，那顆果子，光線也要選好，背景要干干凈凈的?！蹦俏焕蠋煻诘?。

周國(guó)峰漫山登梯切果，試了20多顆，最后完美一刀，那顆紅心李永遠(yuǎn)定格在鏡頭中。展覽上，那顆紅心李的旁邊，滾動(dòng)播放著“紅心李的故事”。周國(guó)鋒把跟隨王建傳上山照料果樹的每個(gè)階段，剪輯制作成了一個(gè)短紀(jì)錄片。三泉王村的一大半人家，周國(guó)峰都串過門。在他的鏡頭里，有的村民很自然地回憶著一段歷史，有的則大方地把他請(qǐng)進(jìn)新裝修好的客廳和臥室，有的還拿出幾十年前在村里拍的老照片，想回到原地請(qǐng)他再拍一張。

“他們想拍啥，或者覺得有啥值得拍的，就會(huì)告訴我，就像叫家里人一樣 ?！敝車?guó)峰說。

村里有位老人叫王興發(fā)，鐘愛村史研究。那次登門，周國(guó)峰本來是要給他做口述史的。替王家翻拍老相片時(shí)，周國(guó)鋒從相框的背面發(fā)現(xiàn)了一張攝于1987年的三泉王村幼兒園全體師生的黑白合影，一問，這家人自己都忘了還留著這么一張照片。

1987年12月，杭州蕭山所前鎮(zhèn)三泉王村幼兒園，時(shí)年32歲的李仙梅老師和23位小朋友拍了這張合影（當(dāng)時(shí)有24位小朋友，有一位小朋友未到）。Li Xianmei, who was 32 years old at the time, took a group photo with 23 children in her class in December 1987 at the Sanquanwang village kindergarten in Xiaoshan district, Hangzhou city.

2022年6月, 時(shí)隔35年后，李仙梅老師和她曾經(jīng)帶過的12個(gè)孩子重聚。In June 2022, Li Xianmei reunited with 12 students she taught in kindergarten 35 years ago.

循著這張照片，周國(guó)峰輾轉(zhuǎn)聯(lián)系上了李仙梅老師和其中的數(shù)名孩子，能聚的都聚了，又拍了集體照。面對(duì)兩張時(shí)隔35年的師生集體照，周國(guó)鋒說：“我只想表達(dá)，當(dāng)年的孩子像蒲公英一樣散飛出去，有的落得遠(yuǎn)，有的落得近，從事著不同的工作，過著不同的生活?！?/p>

“這個(gè)村的村民，對(duì)外人總是很熱情，對(duì)村里的寶貝也很珍惜，無論是一口井還是一棵樹。村里年輕人也愿意回來，為村里的事出錢、出力、出點(diǎn)子，他們是推動(dòng)這個(gè)山村持續(xù)發(fā)展和實(shí)現(xiàn)共同富裕的中堅(jiān)力量?！敝車?guó)峰越來越覺得，他的駐地采風(fēng)遠(yuǎn)遠(yuǎn)沒有結(jié)束。

認(rèn)了個(gè)奶奶

就在周國(guó)峰還在念著要去三泉王村拍新一輪的剪枝時(shí)，浙江傳媒學(xué)院在讀研究生舒思維也在想念蕭山靈山村青娣奶奶做的飯菜。她和青娣奶奶以美顏相機(jī)拍下的那張合影，可以說是整場(chǎng)展覽上最溫情、最可愛的記錄。

“咦，我怎么戴了個(gè)東西？”青娣奶奶那句充滿好奇的嘀咕，好像透著相片也能聽見。

舒同學(xué)遇見青娣奶奶時(shí)，正在給靈山村的村民拍肖像。她是傅擁軍帶的研究生，也報(bào)名參加了這次的影像田野調(diào)查活動(dòng)。老師給出的拍攝要求大綱多達(dá)12條，其中包括村莊風(fēng)貌、村莊建筑、村莊植物考、村莊動(dòng)物考、有代表性的村民肖像、有故事的村民家庭以及家族口述史，等等。

那是舒同學(xué)第一次前往靈山村，路上顛簸了3個(gè)鐘頭。一到就給村民拍肖像，一小會(huì)兒便排起了隊(duì)。

輪到青娣奶奶被拍時(shí)，小舒被她的一個(gè)舉動(dòng)逗笑了，“她把扇子別在了后褲腰里，又用上衣蓋住，從后面看，撐出了一塊”。

沒想到的是，就是這個(gè)奶奶，在接下來的半年時(shí)間里，成了小舒最親密無間的人。

有一天，小舒的拍攝計(jì)劃進(jìn)行得很不順，青娣奶奶看出了她的沮喪和懊惱，把還沒吃飯的小舒“撿”回了家，端上一碗撒著一圈嫩綠蔥花的肉餡大餛飩。而在小舒的拍攝手記里，也毫不掩飾對(duì)那碗餛飩的贊美之情，還有一句“飯吃了很多”。

在靈山村，小舒“蹭”了很多次飯。吃過村民家里的早中晚餐，老年食堂的三菜一湯，中秋節(jié)一大桌家宴，走訪拍攝時(shí)還會(huì)被投喂零食、水果，甚至坐在籃球場(chǎng)邊看比賽時(shí)，也會(huì)有陌生人突然遞來一個(gè)冰淇淋。

導(dǎo)師傅擁軍很鼓勵(lì)這種與采風(fēng)攝影對(duì)象同生活、共呼吸的“蹭吃蹭住”：“我們?cè)谧鲞@20個(gè)村子的田野影像調(diào)查前，曾經(jīng)對(duì)下姜村也有一個(gè)類似的采風(fēng)。積累的經(jīng)驗(yàn)是，攝影師要蹭飯吃，最好能住到村民家里去。”

小舒就這樣住進(jìn)了青娣奶奶的家里，奶奶專門給她準(zhǔn)備了一間臥室。很多時(shí)候，小舒一整天都在村里邊轉(zhuǎn)邊拍，天色一晚，青娣奶奶就會(huì)打手機(jī)來問：“苗苗，奶奶記掛你吃飯啊。”

小舒在靈山村進(jìn)化成了一枚“社?！保系嚼弦惠叺拇迕?，下到村里的娃娃，她可以隨時(shí)隨地舉起相機(jī)拍下大家最自然的狀態(tài)，也可以隨意輕松地在村民身邊坐下，聽他們聊天。

小舒說，她最喜歡靈山村的，不僅是這里的樸實(shí)與良善，還有那一股極強(qiáng)的自我驅(qū)動(dòng)力。“不少村民經(jīng)濟(jì)富裕了，就想著回來建設(shè)自己的家鄉(xiāng)。就像村里的老年食堂，是他們自己捐建起來的……”

中秋節(jié)那天，小舒和村里人一起賞月聊天，有一瞬間的恍惚，好像自己就屬于這里—“我的家鄉(xiāng)在湖北廣水，那里也有一個(gè)靈山村”。

小舒在杭州蕭山浦陽鎮(zhèn)靈山村與青娣奶奶合影。Xiao Shu takes a photo with Grandma Qingdi at Lingshan village, Xiaoshan district, Hangzhou city.

杭州蕭山樓塔鎮(zhèn)大同二村抗美援朝老兵俞關(guān)堂的珍藏徽章。樓穎/攝The military medals that Yu Guantang, a veteran who took part in the War to Resist US Aggression and Aid Korea, collected at his home in Datong’er village,Xiaoshan district, Hangzhou city. Photo by Lou Ying.

杭州蕭山光明村村民動(dòng)物園內(nèi)的馬。A horse is seen in the Villagers’ Zoo at Guangming village, Xiaoshan district,Hangzhou city.

杭州蕭山光明村村民動(dòng)物園內(nèi)的黃綠鸚鵡。Three parrots are seen in the Villagers’ Zoo at Guangming village, Xiaoshan district, Hangzhou city.

“我太久沒有回去了，或許它也正在美麗起來。我能聽見它在呼喚我。”那一刻，小舒也很想轉(zhuǎn)身擁抱自己的故鄉(xiāng)。

“種”進(jìn)村子里

展覽現(xiàn)場(chǎng)的一塊圖板上，再現(xiàn)了策劃人傅擁軍在活動(dòng)微信群里發(fā)的一份關(guān)于拍攝的“作業(yè)大綱”。他鼓勵(lì)攝影藝術(shù)家們注重個(gè)人化的觀察、記錄和創(chuàng)作，同時(shí)還列出了參與村莊影像檔案拍攝必須完成的13個(gè)項(xiàng)目。

“這不是一般的采風(fēng)，是很深入的田野調(diào)查。我當(dāng)過記者，但如果以前當(dāng)記者時(shí)就懂得用這種方法去做一些采訪主題，應(yīng)該會(huì)更好?！备祿碥娍偨Y(jié)道。

田野調(diào)查要求調(diào)查者一步一步地真正融入到調(diào)查對(duì)象中去。唐志揚(yáng)也是一名當(dāng)?shù)財(cái)z影師，這次回歸到老家的親戚朋友中，作為一個(gè)調(diào)查者，嚴(yán)謹(jǐn)?shù)夭杉涗洠瑢?duì)一個(gè)采訪對(duì)象的深入研究甚至要三番四次登門，挖掘出他們身上更多故事的細(xì)節(jié)。他覺得，這一回，自己才算是真正“種”進(jìn)了這個(gè)村。

像孫楊洋這樣的年輕人，則把鏡頭對(duì)準(zhǔn)了蕭山光明村村民最愛的動(dòng)物園。她住進(jìn)村里，跟動(dòng)物管理員丁大叔結(jié)了忘年交，蹭飯的同時(shí)，聽飽了一肚子村民與動(dòng)物園里小動(dòng)物們的故事。

“從關(guān)于動(dòng)物園的各種故事里就可以感受到在這個(gè)村莊生活的老老小小的幸福感?！辩R頭下，小動(dòng)物的安詳、親切，村民們的歲月靜好，深深感染了她。

經(jīng)歷了這次活動(dòng)，很多攝影師的成長(zhǎng)變化很大。其中，很多人是第一次以做影像檔案的方式來完整、全面、立體地拍攝一個(gè)村莊。

深入田野的駐地創(chuàng)作，有一種獨(dú)特的強(qiáng)大的聯(lián)結(jié)能力?！拔覀冞@60位攝影師拍下的鄉(xiāng)村之所以‘美’，是因?yàn)樗拿缆湓诂F(xiàn)實(shí)，不是一種面子上的美，這種美是融入了它的生活、記憶與思考，是有滋有味、有呼吸的。”傅擁軍說。

鄉(xiāng)村是中國(guó)的根基，是鄉(xiāng)愁的寄托。以影像的方式調(diào)查、記錄、留檔，這種影像不單單是影像，更是一種介入現(xiàn)實(shí)的力量，足以激發(fā)鄉(xiāng)村振興的潛能。

Life Comes from the Fields

By Li Wei

Art comes from life. But where does life come from? For photographers, taking pictures out in the field is a necessary path to trace the source of life.

Zhou Guofeng, a native of Xiaoshan, has been “playing”with his camera for more than 10 years. Since July last year, he has participated in a location photography activity called “Growing Village”, together with more than 60 other photographers.

The fruits of this activity were especially exhibited in the Zhejiang Exhibition Hall in November this year. In the exhibition,a picture of a red heart plum hanging on a branch was enlarged to occupy the entire wall surface, and it was the most eye-catching of all.

“This is the best sales advertisement,” said Wang Haiyong,secretary of the party committee of the Sanquanwang village.

“Story of a red heart plum” was one of the themes for the photography activity carried out in the Sanquanwang village,where Zhou was located. In addition to the on-site display, the photos were also made into a beautiful album and collected in Sanquanwang’s “village box” — there were 20 boxes in total, one for each village.

Fu Yongjun, one of the curators and also a famous photographer himself, said that such a large-scale exhibition of rural images and field investigation findings is rare even on a national level —after all, it was a collection of more than 50,000 pieces of works including images and other forms, made by 60 and odd top Zhejiang photographers who spent two full years field investigating 20 villages in Xiaoshan.

“In fact, the boxes are only a small part of the findings,”Fu said. What they recorded is actually broader in meaning: the new looks of Zhejiang’s villages in the new era, the new image of farmers, the new achievements of agriculture... they are rural archives of the new era.

Every year from March to April, the Sanquanwang village would embrace a sea of fragrant snow flake-like plum flowers. For Zhou and his peers, the grandeur of plum blossoms is a yearly must-see, but it has never occurred to them to find out what would happen after the blossoms fail — at the end of April, the plum blossoms would fade, giving way to new clusters of fingertipsize green fruits.

Zhou came again once at this time of year, wandering around the village and climbing up the mountains while taking a few shots. “The villagers I met all told me to come back and try the ripe red heart plums in two or three months,” said Zhou, whose curiosity was thus aroused.

The Sanquanwang village has one of the largest concentrated planting areas of red heart plums in China. The plums produced from the selenium-rich local soil are the pride of the whole village.

Wang Jianchuan, the village’s tea and fruit cultivation expert,has developed a special bond with Zhou. “Every time he comes, he will follow me up the mountain to shoot.” The winding mountain road is three or four kilometers long. Wearing a straw hat given by the villagers, Zhou carried heavy equipment on his back, trudging along the mountain paths amidst the sound of cicadas.

At the summer solstice, the red heart plums would be finally ripe. “How sweet could these plums be?” At first, Zhou did not expect much. But as he bit into the fruit, he instantly understood where the villagers’ pride came from. “That is so sweet!”

杭州蕭山義橋鎮(zhèn)新壩村村民集體大合影。徐國(guó)慶/攝Residents take a group photo at Xinba village, Xiaoshan district, Hangzhou city.Photo by Xu Guoqing.

However, the red heart plum does not look as good as it tastes.In order to make it more photogenic, Zhou also sought advice from his peers. “Why don’t you just cut it open?” someone suggested.

Good idea, but not easy to execute. “The cut should leave a neat surface without scars, and the lighting should also be strictly set to create a clean background,” he explained. Zhou then tried more than 20 times before he finally made a perfect cut, which was forever fixed on the camera. The story of the red heart plum was later made into a short documentary, placed next to the picture in the exhibition.

In the Sanquanwang village, Zhou visited more than half of the households. “They told me straightly what they wanted to shoot, or what they thought was worth shooting, like I was family,” Zhou said.“The villagers are always hospitable and caring to their treasures,whether it is a well or a tree. Young people are also willing to come back and contribute money, efforts, and ideas to their hometown.They are the backbone of promoting sustainable development and achieving common prosperity for this mountain village.” Zhou starts to feel his photography mission here has just begun.

Just when Zhou was still thinking about going back to the Sanquanwang village to shoot a new round of pruning, Shu Siwei,a graduate student at the Communication University of Zhejiang,was also thinking about the meals cooked by Grandma Qingdi in the Lingshan village. The photo she took with Grandma Qingdi with her beauty cam is arguably the warmest and cutest record in the whole exhibition.

When she first met Grandma Qingdi, Shu was taking portraits of Lingshan villagers — she was a graduate student supervised by Fu Yongjun and also signed up for this location photography activity.

It was Shu’s first trip to Lingshan village, a three-hour bumpy bus ride. As soon as she arrived, she began to take portraits of queued-up villagers. When it was Grandma Qingdi’s turn to be photographed, Shu was amused by a move of the old lady.”She put her fan in the back waist of her pants and covered it with her blouse, and from the back, it looked like something was propped up,” Shu recalled.

What Shu didn’t expect was that this grandmother, in the next six months, became the closest person to her. In the Lingshan village, Shu was treated to a lot of free meals — in villagers’ homes,in the senior citizens’ canteen, at family festival feasts... and was also fed snacks and fruits by villagers when she was shooting.

Her supervisor encouraged this kind of “hobnobbing”: “Before we did the field image survey of these 20 villages, we had a similar hobnobbing in the Xiajiang village. From my experience, the best way to get free meals is to live in the villagers’ homes.”

杭州蕭山河上鎮(zhèn)東山村村民以地方非物質(zhì)文化遺產(chǎn)“背馬紙羅傘”為主題,演繹三國(guó)的故事。詹逾/攝Villagers perform the stories of the Romance of the Three Kingdoms using “paper figurines on horse”, an intangible heritage in Dongshan village, Xiaoshan district,Hangzhou city. Photo by Zhan Yu.

That’s why Shu chose to stay with Grandma Qingdi, who prepared a bedroom especially for her. Many times, when it was getting dark and Shu was still out in the village taking pictures,Grandma Qingdi would give her a call: “Miaomiao, come back for dinner.”

According to Shu, what she likes most about the Lingshan village is not only the simplicity and goodness of the place but also the extremely strong self-driven force of the villagers.

On a board at the exhibition site, the curator Fu reproduced a “homework outline” about the shooting activity. He encouraged the photographic artists to focus on personalized observation,recording, and creation, and also listed 13 projects that must be completed for shooting the village’s image archive.

“It’s not a regular photo shoot but a very in-depth field investigation. I was a reporter before, but if I knew how to render some interview themes in this way, I would have done better,” Fu concluded.

There is something unique and powerful connecting the photographers with the fields they went deep into. “The beauty of the villages captured by our 60 photographers lies in reality.It is not on the surface but is integrated into the villages’ lives,memories, and thoughts, delightful and vivid,” Fu said.

Villages are the root of China and the harbor of nostalgia.Through images and videos, they have been investigated, recorded,and archived. Such materials also have the power to influence reality, which is sufficient to stimulate the potential of rural revitalization.