何依 孔惟潔 張樂天 張再紅譯 朱亞云譯校

什么是風(fēng)土？和辻哲郎在《風(fēng)土》一書中將其定義為“土地的氣候、氣象、地質(zhì)、地貌、地形、景觀等的總稱”[1]1，并從這個觀點出發(fā)得出了住居形式與風(fēng)土息息相關(guān)的結(jié)論。[1]8藤井明則進一步證明了風(fēng)土的社會性：風(fēng)土只不過是作為一個已知的條件而已，當(dāng)建筑物作為一種形象“事物”出現(xiàn)在聚落內(nèi)部時，還需考慮聚落共同體民意的空間概念和意識，這些絕不可能被風(fēng)土直接表現(xiàn)出來，創(chuàng)造者的意圖是通過特定形式才能被表現(xiàn)。[2]188綜合而論，風(fēng)土的烙印使一方土地擁有各自空間的方言，其封閉在內(nèi)部所形成的世界觀，投射到聚落的物態(tài)空間，使人們在體驗中能夠獲得直覺的感受。

方言俗稱地方話，是語言的地方變體，隨著氏族大規(guī)模向遠方遷移，與遷居地的本土文化進行融合，逐漸異質(zhì)并分化，產(chǎn)生了分布在不同地域上的方言。作為局部地區(qū)通行的語言，形成方言的因素很多，但山川河流等地理環(huán)境的阻隔，是方言在漫長演變過程中得以保存的重要條件。因此，一種方言往往對應(yīng)著一個地理單元。農(nóng)耕社會的鄉(xiāng)村聚落通過“定居”使人與土地錨固在一起，在工業(yè)化帶動城市化之前，標準化建造方式對聚落的影響較小，依賴一定范圍內(nèi)的有限資源，聚落形態(tài)在不同的地理單元形成了差異。從語言學(xué)的概念出發(fā)，可將聚落中的房子視作一種語詞，語詞相互勾連形成語句，不同的勾連方式創(chuàng)造出語句不同的意義。

引申到聚落，空間意義并非來自其中的某一棟房子，而是房子之間相互依存所形成的一種整體關(guān)系，它是經(jīng)過歲月的長久累積醞釀而成的。所謂“空間方言”，對應(yīng)著某一個特定的地理單元，是一種固定的建筑組合形式，作為一個有意義的“語句”出現(xiàn)在聚落內(nèi)部，因相同或相似組合形式的不斷重復(fù)，使聚落表現(xiàn)出鮮明的地域辨識度?？臻g方言作為風(fēng)土的建筑響應(yīng)，是棲居與自然環(huán)境協(xié)作的結(jié)果，更是作為社會制度被表現(xiàn)出來。正如藤井明在《聚落探訪》中所言：“共同體依靠制度得以存續(xù)。制度作為體系滲透到聚落的空間中?！蔀榫坝^中可以看到的幾何學(xué)構(gòu)圖。”[2]20

空間方言作為地理環(huán)境的產(chǎn)物，需要在不同的地域范圍內(nèi)進行解釋。初識鄉(xiāng)村聚落是在太行山南麓的澤州盆地，鄉(xiāng)村是“院”的聚合，院套院，院接院，院落成為家族實力的度量單位，數(shù)不清的院落在圖底關(guān)系中很容易識別。東西南北四座建筑，圍合成一個閉合空間，四合院無疑是中國傳統(tǒng)民居的基本原型，從語言學(xué)的視角看，就是聚落中的標準語言即“官話”，簡單易懂，作為原型在北方地區(qū)差異不大。然而，江南地區(qū)的地形多變，聚落的空間方言也隨之繁多，并因各種文化交融而表達隱晦，但萬變不離其“宗”。這是源于中國歷史上北方士族大規(guī)模南遷，為求生存形成的同宗同族比屋而居的聚落共同體。祖先的在場性，有效地預(yù)防內(nèi)部的瓦解，抵御外敵的侵入，共同抗擊自然災(zāi)害，成為共同體在長時段中得以存續(xù)的重要條件。在此，舍去風(fēng)土語境中的自然地理環(huán)境及區(qū)域社會成因，通過一座內(nèi)湖漁村的案例研究，去管窺宗族規(guī)定下寧波東錢湖鄉(xiāng)村聚落的“方言小片”。

陶公山是東錢湖西岸的一座小孤山，天臺山在此落脈，山下連綿分布著首尾相接的建設(shè)、陶公、利民三個村莊，共稱陶公山三村。先民們多因避戰(zhàn)亂、躲仇家而陸續(xù)遷入，以捕魚為生，隨著人口的增加，窘于土地資源，聚落在山湖之間加密式發(fā)展，最終形成了“一條長街串十姓，百條短巷連山湖”的格局。自然環(huán)境與人居社會高度融合所散發(fā)出的強大能量，使聚落形態(tài)極具個性，引發(fā)我們持續(xù)了十余年的探索。

長街是十姓宗族的公共空間。一條長街從村頭至村尾串聯(lián)著十個家族姓氏，作為各族之間唯一的紐帶，長街具有突出的公共屬性，派生出中心與邊界、個性與共性、交通與交往、市集與祭祀等諸多意義。行走在長街時，象征宗族制度的大祠堂與小“堂前”，將各自的權(quán)力投射在長街，一段段街道好似在講述著一部部家族史。經(jīng)過歲月沖刷形成的宗族制度，被固化為可感知的空間圖式。

短巷是漁業(yè)捕撈的生產(chǎn)資料。作為一座業(yè)緣型的內(nèi)湖漁村，埠頭是泊船必備的碼頭，每條短巷就是一個生產(chǎn)單元。基于漁業(yè)岸線資源的博弈，為滿足“漁者有其岸”的作業(yè)需求，最大化分配了泊船岸線，長短不一的巷道分割出一個個生產(chǎn)生活單元，數(shù)以百計的巷道顯示出聚落內(nèi)部高度的同質(zhì)化。最吸引我們的是，每條通向湖畔的巷道，都有一條漁船泊在盡頭，使得這座聚落如此與眾不同。

回到空間方言，在“經(jīng)世致用”思想盛行的浙東地區(qū)，宗族內(nèi)部形成了宗、房兩級制的組織構(gòu)架，其中血緣關(guān)系更為緊密的“房族”具有獨立行事能力，并以一個居住單元的形式在聚落中分區(qū)而制?！疤们啊笔菍幉ǚ窖?，又稱堂沿或堂檐，是房族的象征建筑，立于院落的中心，前后有明堂，左右置排屋，組合成一個“H”型的堂前院落。這一空間方言在陶公山自然場地的誘發(fā)下，形成了巷頭立堂前，巷尾設(shè)埠頭，兩側(cè)排屋從山腳延伸到湖畔的“巷道式”堂前院落。其中，房族內(nèi)部的巷道為“正巷”，房族之間的巷道為“背巷”。經(jīng)過數(shù)百年的洗煉，“風(fēng)土”早滲透到聚落內(nèi)部，使其成為一個完整的自律系統(tǒng)而運轉(zhuǎn)。的確如此，在風(fēng)土環(huán)境的制約下，“人們越是在殘酷的自然條件下，創(chuàng)造力發(fā)揮得越是淋漓盡致，建造出的聚落和住居空間組合越是巧妙無比”。[2]195

靜謐湖岸，淺舟搖曳，高高低低的立桿矗立水面，長長短短的釣竿堆疊船上，歪歪斜斜的埠頭伸向水中，家家戶戶的漁船泊在門外，清晨的漁村只聽見湖水拍岸的聲音。

By the tranquil lakeshore, a small boat gently sways. A pile of long and short fishing rods lies inside, and poles of varying lengths stand in the water. Winding jetties stretch out into the lake, to which every family’s fishing boats are moored. In the early morning, nothing but the sound of the water caressing the shore can be heard.

晴朗的白晝，湖面上總能見到散落的捕撈小舟。漁民們在日出時分就進湖，午后才返回。對陶公山的漁民來說，天臺山下的東錢湖與其說是他們的獵場，不如說是他們的田地。宛如明鏡的湖面上，每隔一段距離就能看到穩(wěn)插湖底的竹竿，這些竹竿標識出各家的捕撈地界，漁民們在各自的水域內(nèi)放置箱籠沉入湖下。浩瀚的水面，只有他們自己知道這湖中的秘密地圖。

按照漁民的慣例，每年下半年有一個月的休漁時間，防止過度捕撈，使魚類資源可充分恢復(fù)，從而保證過年時各家的餐桌上都有湖鮮可以享用。這種在歲月沉淀中流傳至今的約定，蘊藏著陶公山漁民知天時、得地利、謀人和的地方智慧。

On a clear day, small fishing boats are scattered on the lake. Fishermen enter the lake at sunrise and return in the afternoon. For them, the Dongqian Lake is not so much the fishing ground as the fields they cultivate. On the mirror-like surface of the lake, one can see at regular intervals the bamboo poles, driven securely into the bottom of the lake and marking the boundary of each family’s fishing area. The fishermen sink fish traps in their respective waters. Only they themselves know the secret map of the lake beneath the spacious waters.

According to conventional practice, fishermen usually enjoy a one-month fishing hiatus in the second half of each year, to avoid overfishing and to enable fish stocks to sufficiently recover, ensuring that every household has abundant freshwater fish to enjoy during the Chinese New Year.This agreement has been passed down for generations, embodying the local wisdom of knowing favorable timing, obtaining geographic advantages,and living in harmony.

陶公山北麓的地形狹窄，因此有許多挨著湖邊的院子。院子在臨水一側(cè)開了一扇小門，門外連接著埠頭，埠頭延伸向湖面。

這原本是為方便臨水的居民在自家房后進行漁業(yè)交易和生活取水，卻無意間營造了一種獨特的景觀——推開大門透過院落便能看見天水相連的東錢湖，院外來來往往的船只，掀起陣陣波浪拍擊埠頭。

一扇小門隔著兩重天地，眼前廣闊的湖山光景，仿佛是打開的“楚門的世界”。

The northern foot of the Taogong Mountain is narrow and confined, so many courtyards are built on the verge of the lake, each with a small door opening on to the water. Outside the door is a jetty jutting out into the lake.

This was originally meant to facilitate transactions of fish products and to provide convenience for domestic use of water right outside the residents’ own houses, but it unexpectedly created a unique landscape; when the door is open, from the courtyard one can see the Dongqian Lake where the sky and the water meet. Outside the courtyard, boats come and go, leaving waves dashing against the jetty.

The small door separates two different worlds, unfolding a vast landscape of lakes and mountains before our eyes, as if it were a real The Truman Show.

對于陶公山這類居住密度較高的漁村，田地極為稀缺。人們會利用山腳水畔、房前屋后有土壤的地方來種植蔬菜，豐富已擺滿魚蝦水產(chǎn)的餐桌。

那些湖邊的宅院往往會擁有一處自家的埠頭，這一小塊岸邊的空地，有著多樣的功能：是歸航人回家的玄關(guān)，是下廚人加工食材的廚房，也是農(nóng)耕理想下現(xiàn)實中的局促田園。

人們會利用各式容器固土種植。泡沫紙箱里冒出的小蔥，廢棄浴缸中栽培的雞毛菜，就連輪胎內(nèi)也能長出鮮艷的花朵。

本著“不浪費”的原則，在“再利用”中創(chuàng)造出了色彩豐富的生活世界。

For the highly dense fishing villages like the Taogong Mountain, fields are scarce. People make full use of every inch of land, including foothills, lakeshore, and the front and back of the houses, to grow vegetables, as supplementary to the mainstays on the dining table such as fish and prawns. Those who live by the lake usually have a jetty of their own. This small piece of vacant lot on the lakeside has various functions: a gateway to welcome the fisherman home, a kitchen where the housewives cook, and a makeshift vegetable plot to fulfil pastoral dreams. People use all kinds of containers to consolidate soil for gardening. For example, spring onions grow in a carton, green vegetables flourish in an abandoned bathtub, and flowers blossom inside a tire. Based on the principle of ‘no waste’, recycling has helped to create a colourful and enriching life.

陶公山的村民們每天日出而作，日落而息。清晨的湖畔，村民們世世代代忙碌的身影，譜寫了一首勞作與時日的長歌。人們享受著自然造物的饋贈。捕撈上岸的魚蝦，經(jīng)歷時間的風(fēng)干成為餐桌上的美味，年復(fù)一年養(yǎng)育著陶公山，生生不息、血脈相傳，也讓這座城市邊緣的村落充滿了活力與希望。

Every day the villagers of the Taogong Mountain work at sunrise and rest at sunset. Every early morning, the lakeshore witnesses the diligence of the villagers for generations, and their labour and daily life become part of the lake scenery. People enjoy the gifts from nature. After being wind-dried, fish and prawns become delicacy on the table, nourishing the Taogong natives year after year, keeping its tradition alive and making the villages abutting the city full of vitality and hope.

陶公山原本是東錢湖西岸一座幽閉的孤島，與世隔絕。

山下的生活很簡單，種菜捕魚，自給自足，每天只需與山和湖對話。

山下的生活很充實，一日三餐做得很認真，可以讓人們忙活一整天。

山下的生活也很慢，每一條魚都平靜地曬著太陽，耐心地等待時間的發(fā)酵，一切的一切都是自然而然的結(jié)果。

島外車水馬龍，人聲鼎沸。但陶公山卻日復(fù)一日過著自己的生活，沉靜如水。

The Taogong Mountain was an isolated island on the west bank of the Dongqian Lake, secluded from rest of the world.

People live a simple, self-sufficient life. They grow vegetables, catch fish, and converse with the mountains and lakes every day.They live a fulfilling life. The three carefully-prepared meals keep them occupied for a whole day.

They also live a slow life. Dried Fish bask quietly in the sun as time patiently ticks away, and everything will come to fruition naturally.

The outside world is overcrowded, full of hustle and bustle. Yet in the Taogong Mountain everyday life has its own rhythm, tranquil as still water.

陶公山迎著東錢湖的風(fēng)浪。為了宜居更為了漁船停靠，先民們環(huán)島筑起一段段防浪堤，堤上種柳樹，于是就有了一個雅名：柳汀。

柳汀在村莊和大湖之間形成了一條內(nèi)河，內(nèi)河風(fēng)平浪靜，每隔一段就有一棵臨水的大樹撐起一片天空，樹下是漁船泊岸的埠頭，也是村民浣洗的臺階，偶爾還有些湖鮮在此交易。

在一個熟人社會里，如果一座祠堂建構(gòu)起一個正規(guī)性的集體身份，那么一顆大樹就聚攏了另一個非正規(guī)的集體身份。在家家戶戶都用上自來水的今天，大樹與埠頭的意義早已超越了生產(chǎn)生活，更多的是為人們提供了一處處相遇之地。

The Taogong Mountain bore the brunt of the storms and waves of the Dongqian Lake. In order to create a livable environment, and more importantly, to provide a safe haven for the fishing boats, the early settlers built a number of breakwaters around the island, and planted weeping willows on them, thereby giving them an elegant name Liuting (Willow Embankment),

The Willow Embankment forms a calm buffer river between the villages and the Dongqian Lake. At intervals big trees, forming a canopy,overlook the river. Under each tree lies a jetty for docking fishing boats, also serving as stairs for the villagers to wash clothes, and occasionally as a market for fish trading.

In a society made of acquaintances, if an ancestral hall is seen as a site to build a formal collective identity, a large tree would attract an informal community group. Today, when all the households have access to tap water, the trees and the jetties have mostly become the places for social meetings and community activities, rather than the means of production.

陶公山村依山傍水，相對水岸人家的規(guī)整和緊湊，那些座落在山腳下的民居則因為沒有了岸線的束縛，反倒顯得松散自如。

這座山下的房屋，山林如屏，渾然一體，屋外的青石板連著山腳，形成一條獨特的邊界，身在其中，分不清是在院內(nèi)還是在林中。

人居智慧來自于棲居與自然的協(xié)作，山南充足的陽光，屋外寬敞的臺地，居高的地勢，都成為這些山居長久無患的原由。

The villages of the Taogong Mountain sit between the mountains and rivers. Compared with the residents living on the waterfront where life is more disciplined and busier, those dwelling at the foot of the mountain are freer and more relaxed, without the shackles of the shoreline.

This house is fully integrated with the woods, which serve as a natural defence. The bluestone tiles in the courtyard lead to the foot of the mountain and form such a distinctive boundary that it is difficult to distinguish the courtyard from the woods.

The wisdom of human settlement originates from the interaction between human habitation and nature. The abundant sunshine on the southern side of the mountain, the spacious terrace outside the house and the high terrain, have all contributed to the enduring liveability of the mountain dwellings.

晨暉之下，山墻的輪廓愈加清晰，陶公山村第五立面是生動又含有秩序的。在個體建造的過程中，同一個匠系的民居具有一個較為固定的屋架原型，以某種相似的形態(tài)重復(fù)著，又自發(fā)地遵循著地形秩序，起伏的輪廓順著堂弄的弧線蜿蜒，縱橫的屋脊沿著山勢重疊。

In the morning glow, the outline of the gable is becoming clearer and the bird-eye view of the Taogong Mountain looks both vivid and orderly.In the process of construction, houses designed and built by the same craftsmanship share relatively similar wheel-like roof truss, but in slightly varied forms, with perfect integration into the terrain. Its undulating outline winds along the arc of the lanes, and the vertical and horizontal roof ridges overlap each other following the contours of the mountain.

陶公山下的村落呈梳狀結(jié)構(gòu)，百條短巷連山接湖，密密麻麻的巷道是這座漁村最具特征的空間形式，其中就有正巷和背巷。

正巷原本是一個房族的院落，因土地緊缺而壓縮成巷，兩側(cè)房屋相對而立，巷頭大多對著“堂前”，是族人生活的場所；背巷是兩個房族的分界，兩側(cè)房屋相背而立，多有常年不開的后門，也是山上排水入湖的通道，因而地面鋪滿綠色的苔蘚。這種有序的寬街窄巷、橫街縱巷，成為所有“碼頭聚落”的一種空間模式語言。

The villages at the Taogong Mountain are a comb-like structure, with more than a hundred short lanes connecting the mountains to the lake.The densely packed lanes are a distinctive spatial feature of the fishing villages, comprising the main lanes and the back lanes.

The main lane was originally a courtyard of a family branch, which has been converted into lanes due to the shortage of land. Houses lining on both sides of the main lane face each other, and at the front entrance of the lane usually stands the family ritual hall, in which the family live. The back lane serves as a dividing line between two family branches. The houses on both sides lie back to back, with their rear doors locked all the year round. The back lanes are also the channels to drain water from the mountain into the lake; consequently, its ground is covered with green moss.These well-organised wide and narrow lanes, stretching horizontally and vertically in an orderly fashion, become a model of spatial language for all the ‘jetty settlements’.

從空中俯瞰陶公山村，建筑高密度排列而形成的肌理環(huán)繞著陶公山鋪展開來，從山腳到湖岸如經(jīng)絡(luò)般串接了百條巷子，每一組房屋都像是從土地里生長出來的斑塊，每一個斑塊都是人們的建造行為對自然的回應(yīng)。

同時，在高度相似的肌理中也隱含著自然和社會兩類單元組織：自然單元建立在地形、氣候與生產(chǎn)活動基礎(chǔ)上，反映了適居與宜業(yè)的內(nèi)在規(guī)律；社會單元建立在宗族社會基礎(chǔ)上，是社會組織外在的空間秩序。

An aerial view reveals that the high-density buildings spread out around the Taogong Mountain. From the foot of the mountain to the lakeshore,hundreds of lanes are connected into the architecture like energy channels. Each group of the houses forms a land patch, symbolising how human construction responds to the nature.

At the same time, the highly similar style of the architecture implies two types of organisational units: nature and society. The natural unit springs from terrain, climate and production activities, and reflects the inherent laws of liveability, workability and sustainability; the social unit is based on the clan society and is the external spatial order under the social organisation.

一年一度“菩薩出殿”的游神儀式，是平淡鄉(xiāng)村生活中最鮮亮的一抹顏色。歷史上造福百姓的官吏，西晉的鮑蓋、唐代的裴肅、宋代的王安石、胡榘等紛紛出殿，接受民眾的拜謁。人們將菩薩從社廟中抬出，請到各族的祠堂中“做客”，各個社群身著不同色彩的服飾進行表演，配以鼓樂鑼镲隊伍為儀仗，熱鬧喧囂從清晨延續(xù)到正午，持續(xù)一周的做戲敬神才剛剛開始。

The annual ritual of the ‘Procession of Gods’ is the most colourful event in the otherwise quiet village life. Villagers pay respect to the ancient officials who had benefited them, such as Bao Gai (?–316 CE) in the Western Jin Dynasty, Pei Su (?–802 CE) in the Tang Dynasty, Wang Anshi(1021–1086) and Hu Ju (1163–1244) in the Song Dynasty. They carry the gods out of the community shrine and invite them to their respective ancestral halls as honoured guests. Various communities in different colours of costumes perform to the accompaniment of drums, gongs, and cymbals. The lively celebration continues from early morning till noon, and it heralds only the beginning of the week-long theatre performance and worship ceremony.

又回到了巷口這一“窗口”。

從對岸越過內(nèi)河望村，每一個巷口都能窺見不一樣的親水“空間語言”，這是漫長的湖畔生活生長形成的。朱家祠堂正對著的埠頭上，存放漁具的小房子靜佇岸邊，與祠堂一前一后高低呼應(yīng)。天材山頭下的埠頭是用于停船的小港，房屋層層疊疊向上，從水邊生長到山頭。建設(shè)村大埠頭上的搭建已拆除，公社時期的大隊糧庫顯露出來，紅色五角星成為記憶標識?？h官宅院旁的巷弄，從埠頭連接到山腳，宅院正對湖岸的馬頭墻，展示著院落原主人的特殊身份。這些行走在岸邊的“不期而遇”，正如克里斯托弗·亞歷山大所說的，是被人們自然地創(chuàng)造出的“生機勃勃”的“無名特質(zhì)”。

We return to the lanes again, the ‘windows’ through which we see the villages.

Gazing at the villages from the other side of the inner river, one can discern different hydrophilic ‘spatial language’ of each lane, which is formed through generations of living by the lakeside. On the jetty directly facing the ancestral hall of Zhu’s family, a small cottage for storing fishing gears sits quietly by the shore, in a sharp contrast with the tall ancestral hall in its front. The jetties beneath the Tiancai Mountain are small moorings. The houses are erected along one side of the mountain, all the way from the water edge to the mountain top. After the makeshift building on the large jetty of the Jianshe Village was dismantled, the granary of the production team in the people’s commune period comes into view, with the five-pointed red star glittering atop, reminding people of the past. The lane next to the county magistrate’s house extends from the jetty to the foot of the mountain. The house faces the horse-head wall on the lakeshore, manifesting the special status of the original owner. A walk along the shore brings one joy in ‘unexpected encounters’. As the influential architect Christopher Alexander said, they are the ‘vibrant, unknown traits’created by people’s spontaneity.