陳富強(qiáng)

觀千島湖日落有些偶然，是在臨湖酒店的室外泳池平臺(tái)上。酒店所在地最初是一座獨(dú)立的無(wú)名小島，有一座橋與陸地相連。島上設(shè)施依水而建，臨湖的房間，也可眺寬闊的湖面，遠(yuǎn)處的山一層一層，濃淡如墨，被湖水溫柔地包圍，這些山，原先都是峻嶺，湖水漸漸從它們的山腳開(kāi)始向上漲，那些山村的房子沉入湖底，房子的主人遠(yuǎn)走他鄉(xiāng)，山便成了島。

一

時(shí)近黃昏，秋色正好。泳池平臺(tái)上，幾株桂樹(shù)花已落，看似凌亂實(shí)際上很有規(guī)則的墻壁上長(zhǎng)滿攀援植物，且花開(kāi)得正艷。晚風(fēng)也很適宜，吹皺一湖好水，尤其是蘆葦，在風(fēng)中搖曳著，其姿態(tài)之媚，恰到好處地展現(xiàn)出千島的儀態(tài)。平臺(tái)上聚集起一些人，他們視線所及，是一輪巨大的太陽(yáng)，懸在天邊，懸在山巒之上。太陽(yáng)已經(jīng)沒(méi)有刺眼的光線，整個(gè)圓形的輪廓顯得通紅，仿佛晚餐喝了一些千島米酒，醉眼朦朧，慵懶地倚在天幕下，等待暮色蒼茫。

這時(shí)，我忽然意識(shí)到，這輪太陽(yáng)，很快就要下沉了，沉到山后，沉入湖底酣睡一晚，她的身軀沉重地一落，今天就再也看不見(jiàn)。我趕緊奔回房間，取了相機(jī)，回到平臺(tái)，憑欄遠(yuǎn)眺，期待日落的壯闊而遼遠(yuǎn)。

那些島，和湖周邊的群山融為一體。島的形體要清秀一些，而群山則巍峨，并且連綿。山影由近及遠(yuǎn)，由濃及淡，最遠(yuǎn)處，是天邊。此刻，天邊正燃燒著烈焰，云也多姿多彩了，倒映入湖，水面就染成了一片紅。濃與淡交錯(cuò)，天與湖，山與水，也糾纏在一起，不肯分離的樣子。山巒的陰影十分明顯了，堅(jiān)硬的山，此刻也顯得有些嬌羞，仰望著太陽(yáng)，含情脈脈。天地間，安靜至極，如果不觀看落日的人，湖畔的靜，就有些寂然?？粗矍暗囊磺?，倒讓我想起林徽因的一句話：“溫柔要有，但不是妥協(xié)，我們要在安靜中，不慌不忙的堅(jiān)強(qiáng)?！睖厝岬氖窃撇?，是湖水，而堅(jiān)強(qiáng)的自然就是群山。山不語(yǔ)，也安如磐石。

二

太陽(yáng)漸漸向山巔滑去。我?guī)缀跄苈?tīng)見(jiàn)太陽(yáng)下滑的聲音。有誰(shuí)能夠挺住落日的重量？顯然應(yīng)該是山的懷抱。所以，那些一座一座緊緊相連的尖峰就是群山的臂膀了，它們伸出的，是無(wú)窮的力量。

落日愈接近山巔，似乎下滑的速度就愈快。色彩的變化也愈來(lái)愈明顯，鮮艷的紅，現(xiàn)在已經(jīng)被漸濃的山色洇成了深紅，湖面也驟然暗淡許多，而山的輪廓?jiǎng)t顯得莊重而偉岸。我想，這真是一場(chǎng)等待已久的戀愛(ài)，太陽(yáng)決定將自己最輝煌的一瞬獻(xiàn)給山脈，她的下墜就義無(wú)反顧。

終于看見(jiàn)渾圓的落日邊沿與山尖相觸，猶如初吻，落日含羞的模樣實(shí)在俏麗。穩(wěn)重的山尖瞬間涂上一層薄薄的光暈，仿佛為了迎接美麗的新娘，在棱角分明的軀體鋪上一層綿軟的毯子，噴出光芒萬(wàn)丈。

落日在與山尖最初的相觸后，下滑的速度明顯加快。她的形狀也開(kāi)始變幻，因?yàn)樯椒宓牟灰?guī)則，落日隱入山后，巨大的輪廓就殘缺了。隨著下滑幅度的加大，落日由大半個(gè)圓變?yōu)榘雸A，小半個(gè)圓，直至一輪圓潤(rùn)的弧線。整個(gè)下墜的過(guò)程，落日顯然掌握了主動(dòng)，頗有些急不可耐，她奮不顧身一頭扎入群山的迫切全部倒映入水。此時(shí)，日落處，有一圈巨大的光暈，好似一個(gè)記號(hào)，天邊的云也終于淡去，被暮靄籠罩。

而湖面一如既往的淡然，風(fēng)吹起的漣漪在日落時(shí)分也顯得微不足道。偶爾有一條船駛過(guò)，船身若犁，劃開(kāi)湖面，波浪把天上最后一絲云彩也攪碎了。黃昏消逝，薄暮降臨。我回望歸于寂靜的桂樹(shù)，只剩一樹(shù)一樹(shù)的影子。島嶼也很快被夜色吞噬，而群山，也醉于落日，無(wú)聲無(wú)息。我問(wèn)自己，落日去了哪里？我親眼所見(jiàn)，當(dāng)然去了山的懷里。然而，心里卻有另外一個(gè)聲音響起來(lái)，告訴我落日其實(shí)沉入湖底去了，就像群山，它們的身軀也被湖水蕩漾。原來(lái)，在千島湖，最寬闊的，還是一湖清水，正是應(yīng)了林徽因的話：落日與山脈，與湖水，不是妥協(xié)，它們?cè)谝黄?，是自然的融合，是?ài)情的故事，在無(wú)邊的安靜中，選擇不慌不忙地堅(jiān)強(qiáng)。

三

我踱回房間，站在窗前，天色漸漸暗了，深了，小島也瞌睡了，窗外的蘆葦也看不清她們纖細(xì)的模樣。我順手從書(shū)桌上取過(guò)一本書(shū)，是《國(guó)家特別行動(dòng)：新安江大移民遲到五十年的報(bào)告》。此書(shū)作者童禪福，是新安江水庫(kù)移民，他最后一次回望家鄉(xiāng)村口那棵老樟樹(shù)時(shí)年齡不足10歲，他在高處，看見(jiàn)庫(kù)區(qū)的水漫上，他的祖屋漸漸沉入水中。這個(gè)畫(huà)面，成為他日后遍訪新安江各地移民寫成此書(shū)的重要?jiǎng)恿Α?/p>

我的同事李斌是淳安人，他有可能是新安江庫(kù)區(qū)最小的移民。李斌曾經(jīng)對(duì)我說(shuō)過(guò)：“我出生時(shí)，新安江水電站工程已進(jìn)入尾聲，大堤工程竣工，準(zhǔn)備蓄水。庫(kù)區(qū)內(nèi)淳安、遂安兩縣30萬(wàn)老百姓在政府組織下，向江西、安徽以及省內(nèi)的桐廬、建德、開(kāi)化、常山等地遷移。我們?nèi)?口（父親、母親、哥哥和母親肚子里的我）也在我出生的半年前從縣府所在地賀城遷移到了地勢(shì)較高的臨歧鎮(zhèn)?！崩畋笏f(shuō)的賀城，隨著庫(kù)區(qū)蓄水，也沉入水底。李斌說(shuō)，他每次回千島湖，總會(huì)在湖邊望夕陽(yáng)，他總覺(jué)得，湖底的那些老宅還在，夕陽(yáng)浸入湖里，能照到他家的屋子，很多魚(yú)，在門窗里游進(jìn)游出。

我認(rèn)識(shí)的新安江移民和他們的后代，不止童禪福和李斌。小方每年總會(huì)回淳安老家好多次，她的父母還在那兒。當(dāng)然，她也出生在那里。她的老家姜家以前叫郁社，改名姜家是接納庫(kù)區(qū)移民后的事。郁社地勢(shì)高，在庫(kù)區(qū)淹沒(méi)的紅線以上，所以得以保存。姜家區(qū)域內(nèi)，后來(lái)建了座文淵獅城，局部復(fù)原了新安江水庫(kù)截流前兩座古城獅城與賀城中的一座，即獅城。電視臺(tái)組織過(guò)一次水下探險(xiǎn)，發(fā)現(xiàn)古城那些雕刻精美的門板、光滑平整的城墻，甚至木梁、樓梯、磚墻全都完好無(wú)損，它們?cè)谒幸呀?jīng)安靜地沉睡60年，相比古城一千年的歷史，60年是短暫的。但是，它們?cè)?jīng)的繁華，被水面覆蓋，落日的光芒也曾穿透湖面，照徹獅城。

文淵獅城建有奎文塔。登塔一望，千島湖部分山水映入眼底。小姜告訴我，奎文塔上無(wú)論觀日出還是日落，都堪稱千島一絕?？上襾?lái)去匆匆，日出之后到的姜家，趕在日落之前回到酒店，終于看見(jiàn)千島湖的太陽(yáng)，是如何一點(diǎn)一點(diǎn)落進(jìn)湖里、沉入水中。那么，湖底的古城、村莊、老宅和縱橫的阡陌，也一定能感受到太陽(yáng)的溫度，不再那么孤單和寒冷了吧。

四

2020年的雨季特別長(zhǎng)，雨水也特別多。新安江上游，大水倒灌安徽境內(nèi)部分縣鄉(xiāng)，電站大壩水位也超出庫(kù)容警戒線，泄洪不可避免。這也是大壩建成60年來(lái)第一次九孔全開(kāi)泄洪，其下泄流量，半小時(shí)即可達(dá)一個(gè)西湖。大壩下游的富春江、錢塘江水位迅速上漲，遠(yuǎn)超歷史紀(jì)錄，尤其是建德境內(nèi)的江段，水流湍急，聲震如雷，頗有“云青青兮欲雨，水澹澹兮生煙”的氣勢(shì)。

泄洪數(shù)日，千島湖水位回落到警戒線以下，九孔關(guān)閉其五孔，只留三孔繼續(xù)泄洪時(shí)，天色放晴，一道彩虹懸在大壩泄洪孔上空。我的朋友，航拍愛(ài)好者海平拍到了洪水下泄入江上空的彩虹。他將照片發(fā)給我時(shí)，我不得不驚嘆這罕見(jiàn)的自然奇觀。

與別處泄洪時(shí)通常水質(zhì)混濁不同，新安江庫(kù)區(qū)是一個(gè)著名品牌山泉水的水源地，下泄的水流是純粹的藍(lán)色，而下泄的洪水與彩虹出現(xiàn)在同一個(gè)畫(huà)面里，可能是大壩泄洪時(shí)最難得一見(jiàn)的景觀。

我問(wèn)他，有沒(méi)有拍到落日，他說(shuō)沒(méi)有，但他看到云層里的太陽(yáng)了。不過(guò)，在他看來(lái)，他拍到彩虹是在下午4時(shí)許，那么彩虹就是日落前陽(yáng)光與水滴在空中的相遇。

這應(yīng)該是這個(gè)雨季千島湖最美麗的相遇了。

從前，太陽(yáng)落下是千山，如今，日落深處是千島。自然與世事的滄桑，總在日出與日落之間。

It was by accident that I saw the setting sun at dusk on the 1，000-Isle Lake. I saw it from a viewing platform by an outdoor swimming pool of a hotel. The hotel nestled on a nameless isle in the lake， connected with the land by a bridge. Lakeside rooms of the hotel offer views of the waters and the skies. The lake is a manmade reservoir. The so-called 1，000 isles are tops of the mountains submerged in the reservoir.

It was an autumn day. Two or three sweet-osmanthus trees near the swimming pool had shed off little flowers. A wall by the swimming pool was covered by vines with some blooms. Some hotel guests were hanging out on the platform， just like me. The sun looked circular， huge and red， perching over the silhouettes of the distant mountains. The thick dusk was descending. It suddenly occurred to me that the sun was going. I fetched my camera from my hotel room and rushed back to the platform.

The sun was blazing like fire. The mountains on the shore and the isles merged and yet distinguished themselves in different layers of colors fading into the edges of the world. The lake was burning， too， reflecting the tints of the skies and the sun. The suns descending was almost audible. The descending tempo accelerated as the sun sank closer to the mountains. The reds of the sun became increasingly darker. Then the sun kissed the mountains. And then the fabulous ball became a semi-circle and then rapidly disappeared into the waters. In the place where the sun had been， for a moment， there was a huge halo hanging over the clouds on the edge of the world. Then the dusk embraced the lake. Silence was everywhere. The osmanthus trees became shadows. The viewers on the platform dispersed.

I went back to my room and stood in front of the window for a moment. The darkness was everywhere. The reeds outside the window were shadowy. On the desk was a book titled ：. The book was written by Tong Chanfu， one of the emigrants from the reservoir region. The book is out of print now. My copy was a replicate I bought online.

I had a chat with Tong. Tong was not ten years old when his family uprooted themselves and moved away. Tong remembers the last sight of the house where he had lived disappearing into the waters forever. He remembers the day. The memory drove him to write the book. He remembers where the village was in present-day reservoir.

My colleague Li Bin was probably the youngest emigrant from the reservoir region. “When I was born， the construction project was almost over. The reservoir was ready to hold water. 300，000 residents in Chunan and Suian moved away from the region. I was born after my parents and my brother settled down in Linqi Town. Our hometown was Hecheng. It is now under water，” recalls Li Bin. Every time he visits the reservoir， he chooses to watch sunset on the lake. He says he feels the houses are still out there in the water. After the setting sun goes down into the lake， he imagines， sunlight pours down upon the house where his parents had once lived， with fish moving around in and out of the windows.

I have chatted with many emigrants or their descendents about their homes now submerged in the lake. They have vivid memories about their lost homes. Thanks to some divers and photographers， we now can view videos of old houses well preserved deep down in the lake. These houses are not desolate. They still look grand and homelike.

The sunset that impressed me deeply isnt the most spectacular one over the lake and the platform by the swimming pool is by far not the best place to view a sunset around the lake， according to those who are from the now-submerged world and those who regularly come back to the lake and watch sunset moments over the lake from various vantage spots. But I cherish the sunset I watched. It is breathtakingly beautiful enough for me to understand these people whose former homes are now underwater and only the sun that sinks into the lake every evening could visit them.