風從田野來

文 /李 蔚

1985年，杭州蕭山衙前鎮原交通村農戶購買的12英寸西湖牌黑白電視機。當初電視機的價格360元一臺，由村辦交通五金廠補貼。唐志揚/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.

藝術來源于生活。生活的源，在哪里？采風，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。

風從何處來？就在鄉間地頭、村前屋后、街頭巷尾，就在傾聽普通人的生活細節，就在我們腳踏的這片土地的最深處?！澳阍跇蛏峡达L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。

生長著的鄉村

過橋，一拐進杭州蕭山所前鎮三泉王村的地界，周國峰就張望到村委會大樓前方那片青綠園子，“這是跟企業合作的親子菜園，上次我來時還只是一塊半荒的菜園，這么快就搞好了”。

周國峰，蕭山人，“玩”相機已有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“生長著的鄉村”美麗鄉村駐地攝影活動。

作為這次活動的成果展示，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，全場數它最誘人。果皮最外面，是一層粉霜，那是紅心李所分泌的糖醇類物質，霧似的質感襯得果肉越發紅艷誘人，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?！比醮妩h委書記王海勇說，人人都知道蕭山所前鎮的杜家楊梅，終于輪到三泉王村的紅心李了。

“一顆紅心李的故事”是周國峰駐地三泉王村拍攝的主題之一，除了現場有部分展示，還被制作成了精美圖冊，收在三泉王村里的“鄉村盒子”里。

20個村莊，有20個“鄉村盒子”。

展覽的首批觀眾中，有不少來自這20個村。隨便打開一個，有村民的肖像集冊，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，長輩口中的一段記憶，日常生活中的平凡人事，鄉村風貌變化的點滴，都被如此真實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，這樣大規模的鄉村影像田野調查展覽在國內也是不多見的—近60多位浙江省內一線攝影師、省攝影“新峰”人才，以蕭山20個村莊為樣板和對象，前后耗時兩年，采集和創作了5萬余件鄉村影像資料。

“其實盒子里也只是一小部分?！备祿碥娬f，他們記錄下的是更廣闊空間里的新時代浙江農村的新面貌、農民的新形象、農業的新成就，這是一份為新時代鄉村建立的鄉村檔案。

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。周國峰又來了，村里轉，山上鉆，時不時咔嚓拍下幾張?！芭龅降拇迕穸几艺f，過兩三個月，一定要再來，嘗嘗熟透的紅心李?！敝車宓暮闷嫘木瓦@樣被勾起了。

三泉王村是中國最大的紅心李集中栽種地之一。因富硒土壤，出產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，與周國峰緣分不淺?！懊看嗡麃?，都會跟著我上山拍?！鄙仙揭廊墓锏纳铰?。戴著村民送的草帽，周國峰背著沉重的器材，走在蟬聲一片的山林小路上。

夏至時節，紅心李終于熟了?！袄钭用?，再甜能甜到哪里去？”周國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?，紅心李其貌不揚，為了把它拍得更上照，周國鋒向同行取經。有位指導老師提醒：“可以切開來嘛?！?/p>

切開來，好點子；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，那顆紅心李永遠定格在鏡頭中。展覽上，那顆紅心李的旁邊，滾動播放著“紅心李的故事”。周國鋒把跟隨王建傳上山照料果樹的每個階段，剪輯制作成了一個短紀錄片。三泉王村的一大半人家，周國峰都串過門。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進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，想回到原地請他再拍一張。

“他們想拍啥，或者覺得有啥值得拍的，就會告訴我，就像叫家里人一樣 ?！敝車逭f。

村里有位老人叫王興發，鐘愛村史研究。那次登門，周國峰本來是要給他做口述史的。替王家翻拍老相片時，周國鋒從相框的背面發現了一張攝于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，杭州蕭山所前鎮三泉王村幼兒園，時年32歲的李仙梅老師和23位小朋友拍了這張合影（當時有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, 時隔35年后，李仙梅老師和她曾經帶過的12個孩子重聚。In June 2022, Li Xianmei reunited with 12 students she taught in kindergarten 35 years ago.

循著這張照片，周國峰輾轉聯系上了李仙梅老師和其中的數名孩子，能聚的都聚了，又拍了集體照。面對兩張時隔35年的師生集體照，周國鋒說：“我只想表達，當年的孩子像蒲公英一樣散飛出去，有的落得遠，有的落得近，從事著不同的工作，過著不同的生活?！?/p>

“這個村的村民，對外人總是很熱情，對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、出點子，他們是推動這個山村持續發展和實現共同富裕的中堅力量?！敝車逶絹碓接X得，他的駐地采風遠遠沒有結束。

認了個奶奶

就在周國峰還在念著要去三泉王村拍新一輪的剪枝時，浙江傳媒學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拍下的那張合影，可以說是整場展覽上最溫情、最可愛的記錄。

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

舒同學遇見青娣奶奶時，正在給靈山村的村民拍肖像。她是傅擁軍帶的研究生，也報名參加了這次的影像田野調查活動。老師給出的拍攝要求大綱多達12條，其中包括村莊風貌、村莊建筑、村莊植物考、村莊動物考、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。

那是舒同學第一次前往靈山村，路上顛簸了3個鐘頭。一到就給村民拍肖像，一小會兒便排起了隊。

輪到青娣奶奶被拍時，小舒被她的一個舉動逗笑了，“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，就是這個奶奶，在接下來的半年時間里，成了小舒最親密無間的人。

有一天，小舒的拍攝計劃進行得很不順，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，中秋節一大桌家宴，走訪拍攝時還會被投喂零食、水果，甚至坐在籃球場邊看比賽時，也會有陌生人突然遞來一個冰淇淋。

導師傅擁軍很鼓勵這種與采風攝影對象同生活、共呼吸的“蹭吃蹭住”：“我們在做這20個村子的田野影像調查前，曾經對下姜村也有一個類似的采風。積累的經驗是，攝影師要蹭飯吃，最好能住到村民家里去?！?/p>

小舒就這樣住進了青娣奶奶的家里，奶奶專門給她準備了一間臥室。很多時候，小舒一整天都在村里邊轉邊拍，天色一晚，青娣奶奶就會打手機來問：“苗苗，奶奶記掛你吃飯啊?！?/p>

小舒在靈山村進化成了一枚“社?！?，上到老一輩的村民，下到村里的娃娃，她可以隨時隨地舉起相機拍下大家最自然的狀態，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，不僅是這里的樸實與良善，還有那一股極強的自我驅動力?！安簧俅迕窠洕辉Ａ?，就想著回來建設自己的家鄉。就像村里的老年食堂，是他們自己捐建起來的……”

中秋節那天，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—“我的家鄉在湖北廣水，那里也有一個靈山村”。

小舒在杭州蕭山浦陽鎮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.

杭州蕭山樓塔鎮大同二村抗美援朝老兵俞關堂的珍藏徽章。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物園內的馬。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物園內的黃綠鸚鵡。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?！蹦且豢?，小舒也很想轉身擁抱自己的故鄉。

“種”進村子里

展覽現場的一塊圖板上，再現了策劃人傅擁軍在活動微信群里發的一份關于拍攝的“作業大綱”。他鼓勵攝影藝術家們注重個人化的觀察、記錄和創作，同時還列出了參與村莊影像檔案拍攝必須完成的13個項目。

“這不是一般的采風，是很深入的田野調查。我當過記者，但如果以前當記者時就懂得用這種方法去做一些采訪主題，應該會更好?！备祿碥娍偨Y道。

田野調查要求調查者一步一步地真正融入到調查對象中去。唐志揚也是一名當地攝影師，這次回歸到老家的親戚朋友中，作為一個調查者，嚴謹地采集記錄，對一個采訪對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節。他覺得，這一回，自己才算是真正“種”進了這個村。

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

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

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

深入田野的駐地創作，有一種獨特的強大的聯結能力?！拔覀冞@60位攝影師拍下的鄉村之所以‘美’，是因為它的美落在現實，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?！备祿碥娬f。

鄉村是中國的根基，是鄉愁的寄托。以影像的方式調查、記錄、留檔，這種影像不單單是影像，更是一種介入現實的力量，足以激發鄉村振興的潛能。

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!”

杭州蕭山義橋鎮新壩村村民集體大合影。徐國慶/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.”

杭州蕭山河上鎮東山村村民以地方非物質文化遺產“背馬紙羅傘”為主題,演繹三國的故事。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.