李劍亮

喜歡外出旅游的行者，大多會鐘情于風光旖旎的山山水水。而喜歡山水勝地的行者，有不少曾被溫婉多情的甌江山水所迷戀。于是，當人們漫步甌江山水之間、吟詠歷代山水佳作之時，會一次又一次地感受到詩和遠方的美好與優(yōu)雅。

甌江兩岸有過什么名篇佳作？答曰：“池塘生春草”。這一出自《登池上樓》的名句，幾乎每一個中國人都能脫口而誦。謝靈運出任永嘉太守后的第一個冬天，長久臥病，到次年初春始愈，于是登樓起興，寫下這一千古名篇。

一

2019年，《浙江省詩路文化帶發(fā)展規(guī)劃》發(fā)布，在全國率先提出打造“四條詩路”，其中就包括以自然生態(tài)山水、文化古村和非遺技藝為主要載體，展現(xiàn)“山水詩源，東南秘境”文化印象的甌江山水詩路。

甌江山水詩路的形成，緣于甌江這條浙西南物資運輸?shù)闹饕?。兩宋時期，溫州、處州（）兩地的甌江水路交通開始走向鼎盛，“良材興販自處轉溫，以入于海者眾?！鄙嫌我粠a(chǎn)的木材、桐油，以及諸如漆器、酒、柑橘、茶葉等均順流而下，行銷各地，其中大宗貨物運輸以瓷器為主。元代龍泉窯青瓷大量外銷，出現(xiàn)了“甌江兩岸瓷窯林立，煙火相望，江上運瓷船舶來往如織”的繁榮景象。運輸船經(jīng)由栝甌水道，沿路匯合景寧、青田、永嘉各地所出的青瓷產(chǎn)品抵達溫州港，從溫州港出發(fā)，途經(jīng)洞頭島海域，入海轉慶元（）、泉州分銷南亞、東北亞，遠銷地中海沿岸各國，成為溫州“海上絲綢之路”的重要輸出路線。以瓷器運輸為主的甌江流域水上交通線，鋪墊了“甌江詩路”的航道基礎。

這條風光無限的山水之路，在時光隧道的穿梭中，又孕育了無數(shù)的詩人與佳作。以山水詩鼻祖謝靈運為發(fā)端，歷代文人墨客，如杜甫、孟浩然、韓愈、沈括、徐霞客等，都曾流連忘返于此，揮毫潑墨于此，夢筆生花于此。據(jù)不完全統(tǒng)計，歌詠甌江山水及風情的詩詞有6000多首，數(shù)量之多，堪比20部《唐詩三百首》。

二

擁有如此豐富的詞章與詩篇，浙南大地上的這條山水之路，自然也就成為一條充滿文化底蘊的山水詩路。一代文豪蘇東坡對此也曾由衷感嘆：“自言官長如靈運，能使江山似永嘉?！边@是蘇東坡《寄題興州晁太守新開古東池》中的詩句，希冀一位太守能使自己管轄之地的山山水水因自己的詩篇而名滿天下，就像當年的永嘉郡（）山水因太守謝靈運的詩篇而揚名天下一樣。

當年永嘉太守謝靈運讓永嘉山水名揚天下的詩篇，便是《登池上樓》。全詩字雕句琢，匠心獨運;其中“池塘生春草”一句，連詩人自己也稱“此語蓋有神助”。直至南宋，著名詞人張炎在他的一首《南浦》詞中懷著十分仰慕的心情，化用此句而廣其意：“回首池塘青欲遍，絕似夢中芳草?！辈贿^，歷史上能像謝靈運那樣通過自己的詩詞作品，將管轄之地的優(yōu)美風光推向世人的地方官員并不多見。謝靈運之后能承其風流者，蘇東坡當是一位。上引蘇東坡“自言官長如靈運，能使江山似永嘉”之句，從某種意義上說，便是蘇東坡將自己與謝靈運作比較的一種表現(xiàn)。由此，我們也就不難理解東坡每執(zhí)掌一地之政，便以其詩詞詠嘆一地之美。今日杭州西湖能成為世人向往的旅游勝地，無疑與蘇東坡“欲把西湖比西子，淡妝濃抹總相宜”的美麗描述不可分割。詩歌因山水而孕育，山水因詩歌而揚名。正是由于山水與詩歌這種剪不斷、理更纏的依存關系，激發(fā)了現(xiàn)代人類文明進程中文旅相融的發(fā)展理念與創(chuàng)新實踐。

“疊疊云嵐煙樹榭，彎彎流水夕陽中?！弊鳛楫T江山水詩路上最璀璨的一顆明珠，永嘉楠溪江具有“水秀、巖奇、瀑多、村古、灘林美”諸多特點。在景色迷人的楠溪江兩岸，在謝靈運詩魂的感召下，又孕育了不少本土詩人。其中，尤以南宋時期的徐照、徐璣、翁卷、趙師秀等四人獨樹一幟，史稱“永嘉四靈”?！八疂M田疇稻葉齊，日光穿樹曉煙低”“黃梅時節(jié)家家雨，青草池塘處處蛙”“鄉(xiāng)村四月閑人少，才了蠶桑又插田”，這些獨具甌江山水風光和情韻的詩句，至今依然令人心曠神怡?？梢?，以謝靈運為開端的山水詩，已將楠溪江山水鑄成人們神往的游覽觀光之地，借用宋代詞人賈收《天仙子》中的詞句，便是“景物因人成勝概”也。

三

筆者參加了前不久舉行的楠溪江宋文化與旅游融合發(fā)展高峰論壇。會上，永嘉縣的負責人表示，要按照文化浙江、文化溫州、文化永嘉建設的要求，深入梳理永嘉的歷史文脈，致力于永嘉學派和楠溪江宋文化的系統(tǒng)研究，傳承淳樸厚重的優(yōu)良傳統(tǒng)，弘揚“義利并舉、敢為人先”的永嘉精神，真正以優(yōu)秀傳統(tǒng)文化提升新時代永嘉精神內涵。同時，要圍繞詩路建設、永嘉昆曲、甌窯文化等重點，強化文化賦能旅游發(fā)展。

近年來，永嘉結合當?shù)貙嶋H，堅持古為今用，探索傳統(tǒng)文化的創(chuàng)造性轉化與創(chuàng)新性發(fā)展，從山水文化、非遺文化、名人文化、古村文化、甌窯文化等一系列旅游文化符號中，提煉出“SONG”文化概念，在省內形成了有文化、有亮點、有融合的永嘉文化旅游現(xiàn)象。

據(jù)永嘉相關部門負責人介紹，所謂“SONG”，既是漢語“宋”字拼音，也是“歌唱、詩歌”的英譯，寓含“宋+”“音”賦能文化旅游、為永嘉文化旅游增添兩翼之意。其中，S是以“山水詩”為代表的“詩歌”文化;O是以“甌窯”為代表的“甌”文化;N是以“南戲”（）為代表的“戲曲”文化;G是以“古村落”為代表的“耕讀”文化?；谶@樣的理念，永嘉將全力打造甌江山水詩路核心地，用詩歌文化為永嘉旅游賦能。

作為全省詩路e站首批建設布局點，永嘉已啟動了“數(shù)字詩路e站”建設工作，利用影像、VR/AR、3D全息投影等數(shù)字技術手段，整合開發(fā)甌江山水詩路沿線地區(qū)的詩詞、景點、歷史遺存和非遺傳說等IP資源，特別是永嘉山水詩文化和謝靈運IP符號，構建虛實結合的甌江山水詩路數(shù)字化平臺，打造永嘉詩歌文化的文化地標。

永嘉文旅融合發(fā)展所提煉的這樣一種核心理念，一定程度上體現(xiàn)了甌江山水詩路建設與發(fā)展的創(chuàng)新實踐。追求甌江山水詩路的文旅融合，從某種意義上說，便是探尋甌江山水詩路的傳統(tǒng)與未來，實現(xiàn)甌江山水詩路閱歷和活力的深度融合。這種融合，實際上也是人們強調空間中的歷史記憶的積淀，重視山水自然中所注入、傳承、不斷經(jīng)典化的人文內涵。

永嘉山水因謝靈運詩歌而被注入了文化內涵。當年，謝靈運行走在永嘉山水之間所寫下的不朽詩篇，代表了魏晉南北朝以來重要的美學創(chuàng)造，即對自然美的發(fā)現(xiàn)。由于謝靈運在中國山水詩傳統(tǒng)中不可替代的地位，后代數(shù)不清的甌江山水詩，從某種程度上說都是向他的敬禮。

從歷史和現(xiàn)實的關系看，人類一直行走在消逝中，也一直行走在變遷中。一個人的魅力來自活力，也同樣來自閱歷;一個民族的魅力來自強盛，同樣也來自傳統(tǒng)。消逝的歷史，讓人更加懷念傳統(tǒng);變遷的現(xiàn)實，讓人更加向往未來。因此，追求甌江山水詩路的文旅融合，實際上就是要充分汲取傳統(tǒng)文化中的精華，并在當今經(jīng)濟社會建設中發(fā)揚光大。這種以崇尚人文、重視文教為基礎的文旅融合，既是經(jīng)濟社會發(fā)展的持續(xù)動力，也是保障經(jīng)濟成功的不竭源泉。因此，我有理由相信，昔日清新脫俗的甌江山水文化與今日甌江山水詩路的文旅融合，將成為一種可以期待的美好前景。

In 2019， Zhejiang Provincial Government issued a development blueprint for building four poetry roads in Zhejiang. One of the four ancient roads is the Poetry Road along the Ou River in southern Zhejiang. The road took shape in good old times largely thanks to the Ou River which served as the main transportation artery in the southwest of Zhejiang. During the Song Dynasty （960-1279）， the river route flourished as local products such as timber， Tung oil， lacquer ware， wine， orange， and tea were transported from the forest region of the southwest of Zhejiang. These local products were shipped through the river system to reach Wenzhou， where these products were loaded onto ocean-going ships together with celadon produced in neighboring regions and shipped in separately. From Wenzhou， goods were shipped separately to Ningbo before they went to Japan and Korea in the northeastern Asia or to Quanzhou in the south where ships sailed out to markets in Southeaster Asia. The Ou River was a major outgoing trade route.

It was a route of material prosperity and it was a route of scenic beauty and cultural splendor. Xie Lingyun （385-433） began the first poem of Chinas nature poetry by writing a poem about the natural beauty he saw in Yongjia. The river attracted many poets and scholars such as Du Fu， Meng Haoran， Han Yu， Shen Kuo， and Xu Xiake in subsequent dynasties. Incomplete data suggests that more than 6，000 poems were written about the natural beauty and splendor of the Ou in ancient centuries.

By writing about the natural beauty of Yongjia， Xie made Yongjia famous， attracting poets to visit Yongjia all the way from other parts of the country. Su Dongpo （1037-1101）， probably the greatest poet and essayist of the Song Dynasty （960-1279）， admired Xie for making Yongjia famous throughout China. He said in a letter to a friend who was a prefecture governor that he hoped the governor would follow the example of Xie Lingyun and make the prefecture under his watch famous. But there were few who could outmatch the founding father of Chinas nature poems. Su Dongpo happened to be one of the few. For example， some poems Su Dongpo wrote while serving as governor of Hangzhou are the best ones still recited and quoted today about the legendary beauty of the West Lake.

The best known local poets of Yongjia are Xu Zhao， Xu Ji， Weng Juan， and Zhao Shixiu， all natives of Yongjia and contemporaries of the Southern Song Dynasty （1127-1279）. Their poetry focuses on nature and rural life. The four wrote short poems in a natural style easy to understand and free of esoteric allusions. Their poems add a touch to the poetry about Yongjia and make Yongjia famous.

In recent years， the cultural and tourism authorities of Yongjia， which is now a county under the jurisdiction of Wenzhou in southeastern Zhejiang， has been promoting Yongjia as a major tourism attraction. Landscape， intangible cultural heritage， historical celebrities， ancient villages， and Ou Kiln are the core of the regional culture. The government has picked “SONG” as a cultural symbol to signify a development strategy. SONG is the Chinese pronunciation of the Song， a dynasty that lasted from 960 to 1279. Moreover， S， the first letter of the pinyin for 山水詩 or mountain-river poetry， stands for nature poems; O refers to 甌窯 or Ou Kiln; N indicates Nan Xi （南戲） or Southern Opera， which originated in the south of the province and is considered as the ancestry of Chinese regional operas. G stands for 古村落 or ancient villages along the Nanxi River.

Xies nature poems written in Yongjia are immortal in Chinese literature. They represent the most important aesthetic originality of the time： they symbolize the great discovery of nature in Chinese poetry. As Xie Lingyun is a central figure of Chinas nature poems， all the poems written after him can be considered a salutation to him.