慢的美学 – The Aesthetics of slowness – English

  
10248
Rating this article
Thanks!
An error occurred!
66%
19 paragraph translated (32 in total)
Read or translate in
  

I.

In 2007, after moving from Guangzhou to Guanxi, I had already lived in the small town of Guilin for almost 3 years.

When I think back about it today, although almost 6 years have passed, I still remember all the details of it, as if things had occurred yesterday. The time of these years was really quiet, like a mountain hermit, going to and from work every day at the same time, with leisure to read, buy and cook food, 悠哉游哉,跟外面的都市世界相比,实在是近于原始生活。

On the shore of the Li river, 有一家名为刀锋书店的小书吧,七八十平米的营业面积,and in the window were a few tables where you could read books and drink tea, there were not many books, but they were chosen with very good taste, 从中可窥见老板娘的眼力。I went there almost every second day, to see what new books and magazines had arrived, and see who else was looking at the books, 那几乎是我接触外界消息的很大一条通道。有时候你翻厌了,走出来就是漓江,江面上或有渔船,或有水草,你可以想象它如何从华南第一峰猫儿山流出,一路漂流向南,形成美甲天下的桂林山水。

你也可以想象,这条江以前的形态和水量,you can imagine how many people through history have come to observe it and pay it homage, what have they seen, and what have they left, how many people have seen this famous river, and in turn, how many different kinds of people has this river seen!. 有了这样的悠闲,你即使是身在一个盆景式的山水小城,没有风云际会和惊天动地,也一样可以安身安心,因为你不单单是只活在眼前,还活在江水逝者如斯的亘古之中。

When the weather was nice, I would stroll to the vegetable market, 看到集市上物品琳琅,青菜是一把把从田间割出来的,桔子上面还带着树枝和叶子,你甚至可以感受得到菜农在田里的劳作状态,会想象得到他采摘桔子时候的力度,你自然会感觉出一种丰盛,心里也会生出一种富足和安定,虽然那东西并不属于我,而只是零零散散地摆在菜市场上,一份份被摆出来,又一份份被卖出去。

Sometimes, I also went to the small alleys around ‘Kind city’, 这座王城是明太祖朱元璋其侄孙朱守谦被封为靖江王时修造的王城,比故宫还早36年。王城周围是几条横七竖八的寻常巷陌,有人来人往,有狗叫,有阳光,有时光在石板路和灰砖墙上漫漶过的痕迹,有名字雅致实则平常的胡同,有炊烟和煎炒声,有煤气罐,有阿婆阿爷打纸牌的声音,市声隐隐,但是听着却很亲切。我把这个山水之外的桂林,称为第二个桂林,这里藏着一些让你慢下来的东西。

我始终觉得,在一种不疾不徐、不紧不慢的状态里,很少有不美的东西,也很少有不顺的东西。可是一旦面临急迫的时候,一旦要面对速度的、利益的、物质性的东西的时候,那个美和顺常常就会被打乱掉,因为没时间也没心情去整理、去归置这些东西之间的状态。

在今天的都市社会,在富裕起来的一部分人中间,我发现有那么多人要逃离都市,回到乡镇和自然,他们要么去云南、西藏、新疆等边疆地区长途旅行,要么去城市周围的山村小镇玩乐,为什么?我觉得是一种觉醒,一种在经过了速度和强度之后的觉醒,因为乡镇和自然里有一种非常稳定的力量,一种很厚实、很缓慢的力量,能填补他心底缺少的内容。

我们经常说礼失求诸野,那么我们的都市社会丢掉了什么呢?是一些接地气的、生活化的东西,是一些人情的、市井的东西,而这些东西,我们内心的其实是有莫大用处的。

日本的都市、台湾的都市,其实都是有这种稳定的力量的。你看《入殓师》,作为一个大提琴演奏师,小林大悟不得不放弃在东京的演奏家之路,回到故乡,开始一段他本不愿接受的入殓师职业,他去观察各种各样的死亡,凝视围绕在逝者周围的充满爱意的人们。我无意述说入殓师的伟大和死亡哲学,而是觉得日本人有这种安定的、回归的力量,有回到慢的生活的勇气,而换到中国的都市人身上,基本上我们很难回头,经过一种都市生活后再安于故乡。

台湾也是这样,它的现代与传统并不脱轨,与自然也不脱轨,你到台北、高雄这样的国际化都市,一点也不会感觉到都市的荒凉感和压迫感,你到垦丁、美浓这样的小镇,一点也不会感觉到落后、蛮荒或者破败。而且,台湾人比较好的一点是,他们从都市回到乡野不会觉得不适应,饭衣蔬食仍可以捡拾起从前的习惯,他们从山村来到台北或者新北,也不会自惭形秽或者妄自菲薄,而能用从故乡带来的风土融合都市社会的生活方式,结合如一。

但是我后来离开桂林,又先去上海、后来北京,我发现无论我自己还是身边的人,经常可以看到大家一脸神色匆匆,每个人身上都有一种失魂落魄,从我自己的身心经验出发,我知道我们是焦虑的、不安的、仓皇的,总怕一不小心落下什么,赶不上什么,唯恐自己不时髦了,跟不上最新的生活方式了,而不懂得用缓慢去平衡疾驰,用本色去对抗光怪陆离。

这个问题,是我们割裂了乡野力量的城市化造成的,有太多政治的、经济的力量,但是最后造成的结果,却都需要我们每一个人来承担,要我们自己去寻找各自的身心寄托。

II.

In an increasingly fast-paced social life, slowing down requires courage and determination.

There’s a poem by Li Shanyin called “Night rain going North” 夜雨寄北 :“君问归期未有期,巴山夜雨涨秋池。何当共剪西窗烛,却话巴山夜雨时。” He wrote this to his distant wife in Chang’an on a rainy night in Bashu, and we generally interpret it as an expression of affection and longing for his distant wife, but something else in this poem is worth pondering on, and that is, what state of mind is it, that a person on the rainy Ba Mountain will listen to the sound of rain at night outside the window, and think of someone absent?

When we think about it, among the people of today, who will listen to the sound of rain at night? And as the rain falls around them, would they think of someone far away?

The technological developments of our age have shattered our aesthetic enjoyment of dark clouds and moonlit landscapes, mountains and rivers,自然已经被揭开了天灵盖; transport and communications have reduced time and space so much that if you miss someone, you can just phone them, and a video call can make it seem as if they were right in front of you, we’ve lost the habit of lying down at night and listen to the rain on the banana leaf, and we have no time to appreciate the snow falling and melting, confronted with the speed of everything around us, slowness has become a luxury, something outdated, a kind of perversion, like ignoring the world.

The slowness of Li Shanyin seems further and further away from us. And his slowness was not just his alone, the excessive sense of leisure in his mind was also dictating by the slow spirit of his time. Not only was this a pastoral and agricultural slowness, but the period he lived in was the late Tang Dynasty, when the dynasty’s high point of prosperity had already passed, and the regime was slowly declining.

After the industrial revolution took place in 18th century Britain, spread through the whole European Continent, then swept through America, and spread to Asia, in just over two centuries, it has become the engine of the earth, and the whole world has transitioned from the agricultural age to the industrial and commercial age.

All humans are prisoners of this wide, quick and irresistible conquest, hardly anyone can evade it, 我们的衣食住行和生活方式都在被改变着,人类搭上工业革命这列车速越来越快的列车后,突然发现自己再也下不来了,我们被速度、感官、刺激绑架了,我们也许不喜欢,也许已经萌生退意,但是我们却没有办法,一种遍布山河的、消魂摄骨的气氛已经牢牢存在了。

The industrial civilisation pursues speed and efficiency, 富兰克林的“时间就是生命,时间就是金钱”,一度被所有人奉为为座右铭。对速度和数量的崇拜,已经控制了我们的意识和价值判断基础。

对这列在以加速度前进的列车的对抗,其实早已存在。1986年,意大利记者卡洛•佩特里尼有一次漫步罗马的西班牙广场,在一瞬间他被几十名学生在广场上同时大嚼汉堡的画面震惊了,当得知广场又要开一家麦当劳时,他组织人们到广场端着传统意大利面食议抗。3年后,他成立了慢餐协会,倡导人们放慢节奏享受美食和生活,这拉开了慢生活的帷幕。

继卡洛•佩特里尼的慢餐运动之后,上世纪90年代初有一个名为SlowMovement运动,短短几年就有几十个国家、八十几万会员参加,它没有总部,没有组织,只一个简单的理念,唤醒被速度绑住的人,劝导人们慢慢吃、慢慢呼吸、慢慢思考、慢慢做爱、慢慢休闲。

同时,慢并不是为了不快,而是建立一种快和慢的平衡,就像SlowMovement网站上的那句话:“慢活并不是将每件事牛步化,而是希望活在一个更美好的世界。它是一种平衡,该快则快、能慢则慢,尽量以音乐家所谓的TempoGiusto(正确的速度)来生活。它没有一成不变的公式和万用守则,只是让每个人都有权利选择自己的生活步调,如果我们愿意腾出空间容纳各种不同的速度,这个世界会变得更加丰富”。

After slow food and slow pace came the slow city, the slow city is the old Medieval city of Orvieto in Italy.

1999年10月,在奥尔维耶托的一次慢餐活动上,意大利5个小城的市长第一次给“慢城”做出了明确定义,其成员须满足55项具体规定,如人口不得超过5万,发展和使用环保技术,不得使用转基因种子、作物和食品,必须保持当地特有的风俗文化。慢城运动,是想把慢放大到人的整个生活环境中,protect local characteristics, and resist the standardization and homogeneisation brought about by globalisation.

Milan Kundera has a novel called ‘Slowness’, 米兰•昆德拉有一本叫《慢》的小说,小说只写了一个晚上:一个到某城堡度假时构思作品的作家和他妻子;一个参加昆虫学会的法国知识分子;一个18世纪某个红杏出墙的夫人及她的情人。知识分子的聚会是作家正在构思的情节,而某夫人和骑士是他读过的一本书中的人物。小说末尾这三个时空突然扭曲,知识分子和作家下榻的是同一个酒店,而这也正是夫人与骑士、知识分子与情人共度良宵的地点。而这个作家,似乎就是昆德拉自己。

Kundera’s Slowness spans only a very short time and space, as if to slow down history, and let more people enjoy the philosophy and aesthetics of slowness.

I have a feeling that, the quicker our lives, the weaker our memory, the slower our days, the more startingly profound they become, there is a proportion between slowness and memory, and a proportion between fastness and forgetting. This might be what the Ancients meant of the life of the immortals, “one day on the mountain is like a thousand years in the world”, not that the Gods can span time and space, but that the Gods can very slowly experience all feelings. It’s like fishing, fishing is better than having a fish, what you want is not the pleasure of catching a fish, but the pleasure of fishing even without catching one. Or to take another example, gardening is not just about the pleasure of these days when flowers open, 而是建立起那份侍花弄草的小心和精细。Fishing and gardening bring about these thousand year days.

A friend said to me that the poet Bai Hua 柏桦 called his son ‘Bai Man’ Slow Bai, 柏慢. I was surprised and admirative. Because in this way, he was telling us, he wanted to confront speed with depth, confront strength with density, confront the machine with the person, and confront forgetting with feeling.

Article Revisions:

There are no revisions for this post.


Sources :

source: Douban, 12 December 2012 (Part I)
source: Douban, 17 December 2012 (Part II)

About julien.leyre

French-Australian writer, educator, sinophile. Any question? Contact [email protected]