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Special Focus - - SPOTLIGHT - “与气势磅礴、浑厚稳重的长江比,汉水是一条清澈而活泼的河流。它从陕西的嶓冢山一路喧哗奔来,穿山绕峡,蜿蜒跌宕,一直欢乐地跑到武汉。倘若没有长江横亘在前,或许它还想自己奔往大海。可惜浩浩长江切断了它独行的道路。就像一个一心富于个性和自由的人不甘于突然间失去自己一样,汉水也不甘于就这样终结前程。它努力地为自己寻求出路……” 摹写武汉旧事故貌,武汉作家方方的《汉口的沧桑往事》算得上代表作之一。书一开篇,方方就浩浩汤汤地写到汉口的水。 江汉朝宗于海。在武汉,大凡流传的故事,多与长江和汉水有关。

“Com­pared with the pow­er­ful and tor­ren­tial Yangtze River, the Han­jiang River is limpid and joy­ful. She runs peace­fully from the Bozhong Moun­tains of Shaanxi to Wuhan, singing, mov­ing around the moun­tains, and bend­ing through the canyons. Han­jiang River would flow to the sea if it weren’t for the Yangtze River ly­ing be­fore her, dic­ta­to­ri­ally ter­mi­nat­ing her in­de­pen­dent jour­ney. As one who pur­sues self re­liance and free­dom, Han­ji­nag River re­fuses to lose her­self, and strives to find a way out…”

Fang Fang wrote so about the per­son­al­ity of the Han­ji­nag River in the be­gin­ning of The Vi­cis­si­tudes of Hankou, a book about the past sto­ries of lo­cal Wuhan.

Yangtze River and Hangjiang River merge and run to­gether to the sea. So, sto­ries which spread in lo­cal Wuhan are closely re­lated to these two great rivers.

Zhiy­in­hao is one of the ships that sails up and down the rivers, silently ex­pe­ri­enc­ing the ris­ing tides and ebbing lev­els, see­ing the birds wan­der­ing above the sad and happy faces of Wuhan peo­ple. It is a theme ship based on the pro­to­type of Jianghua, a ship forged by Wuhan Min­sheng Ship­ping Com­pany in the early 20th cen­tury. Built strictly ac­cord­ing to the old fash­ion, Zhiyin has a rounded bow, two old-type chim­neys, and more than 300,000 riv­ets. She can bring you back for a mo­ment to the 1930s.

Ac­cord­ing to what Fang Fang nar­rates, build­ings to­tally dif­fer­ent in style from the lo­cal ware­houses, work­shops, and bun­ga­lows “ap­peared along Yangtze River as rapidly as the wind”. After the open­ing of the port in Hankou (a District of Wuhan), she said, “Lo­cals who lived far from the sea and thus knew lit­tle about abroad were greatly stunned by the life­style, the ma­te­rial civ­i­liza­tion, and the cul­tural cus­toms of the western world.”

The shock didn’t last for long, though. Wuhan, as a port city, has rooted its open and in­clu­sive cul­ture into its peo­ple’s mind. In the process of eco­nomic and ur­ban mod­ern­iza­tion, Wuhan mixed its tra­di­tional cul­ture with western cul­ture. Wuhan not only ac­cepted the gardens, the western-style houses, the race course, and the ball­rooms from the West, but also be­came the sec­ond big­gest city after Shang­hai around the Rev­o­lu­tion of 1911.

舟行水上,“知音号”是那些往来船只中的一艘,它们在江中颠簸,默默见闻江水涨落、鸥鸟低徊,以及武汉人的愁容和欢颜。

这条以上世纪初武汉民生轮船公司“江华轮”为原型打造的主题轮船,为了再现民国时期老武汉风情,一切都严格按照旧时样式打造:旧式圆润船头,船身30多万颗仿制铆钉,两座老式烟囱……让人仿佛重返上世纪30年代。

方方说,自汉口开埠以来,与本土货栈、作坊、民屋风格完全不同的建筑群“像风一样快速地矗立在长江边上”。“西方人的生活方式、西方人的物质文明、以及西方人的文化习惯,足令居住内陆深处、无缘见识国外的汉口人一时间目瞪口呆。”但是,惊讶仅仅只是一时间的。作为码头城市,武汉开放与包容的码头文化已经深深植入武汉人 的血液之中。武汉在经济与城市现代化的过程中,将本土的传统文化与欧风美雨的洗礼融汇在一起,不仅接纳了花园、洋房、赛马场、跳舞厅这些西式建筑,还成为辛亥革命前后国内仅次于上海的第二大城市。

民国时期(1911~1949年),是武汉历史上最辉煌的时期之一。这里有战火硝烟,也有歌舞升平,更有商贾往来、精英汇聚。如今,“知音号”就是这段历史最具年代感的“解说员”,向我们诉说着那个年代的老武汉——

“卖报,卖报!”进入知音号码头,刚入检票口,迎面而来的报童就将一份竖版繁体的“号外”塞到每一位游客手中:“快看快看,‘知音号’漂移式多维体验剧,绝对精彩!” 随着人流往前走,连接码头和趸船的栈桥俨然一个热闹的集市,馄饨摊、老石磨、旧报亭、黄包车、老爷车,斑驳的木质地板,吆

The Repub­li­can pe­riod (1911-1949) has wit­nessed the most glo­ri­ous time in Wuhan’s his­tory. It is a pe­riod of war and also a pe­riod of peace when mer­chants from dif­fer­ent places bus­tled about and tal­ents of dif­fer­ent na­tions were jammed.

Now, Zhiy­in­hao, seemly a liv­ing wit­ness from that past pe­riod, is here to tell us about the old Wuhan. “Break­ing news! Break­ing news!” At the ticket en­trance, a news­boy cries, giv­ing an ex­tra of a news­pa­per printed ver­ti­cally and writ­ten with tra­di­tional Chi­nese char­ac­ters to each tourist. This is what you are go­ing to see when you ar­rive at the wharf of Zhiy­in­hao.

“Look, we have a ‘drift­ing mul­ti­di­men­sional drama’ on Zhiy­in­hao, it’s def­i­nitely fas­ci­nat­ing!” said the boy.

If you walk for­ward fol­low­ing the crowd, you will see a tres­tle bridge con­nect­ing the wharf and the pon­toon. The place looks like a busy mar­ket with the old stone mill, an old­style news­pa­per stall, the jin­rik­isha, vin­tage cars, the blocky wooden floor, and the street ven­dors ped­dling lo­cal pa­per­cut­tings and em­broi­deries. All these to­gether re­store a re­al­is­tic scene of the old Hankou Wharf, re­mind­ing tourists that they have stepped into a to­tally dif­fer­ent space.

“Look, isn’t she beau­ti­ful in that cheongsam?” My com­pany is talk­ing about a cou­ple who are car­ry­ing leather suit­cases, walk­ing arm in arm by us. The woman wears a cheongsam and the man wears a long gown.

Look­ing around, we see on the ship­board all those who live in the Repub­li­can pe­riod. Some of them are com­mu­ni­cat­ing in­ti­mately, some say­ing good­bye to peo­ple stand­ing on the wharf, some get­ting drunk, and some look­ing for their cab­ins in a hurry. All of them have their own sto­ries.

Lit­tle Yu­lan is her mas­ter’s favourite Dan ac­tress in the Liu Theater Troupe. Dur­ing the trou­bled times, the troupe ex­pe­ri­enced ad­ver­sity. Lit­tle Yu­lan, who wanted only to marry the “el­dest brother” in the troupe, now had no choice but to marry a gen­eral in or­der to save the troupe. In Zhiy­in­hao’s cabin, she stares at the woman’s heador­na­ments that her mas­ter made for her be­fore her first stage show, think­ing about the happy days with the “el­dest brother”, and bursts into tears.

Next to lit­tle Yu­lan, a danc­ing girl folds the ship ticket into a pa­per boat. She is go­ing to leave this city in which she has lived for 20 years, be­cause she has been given away as a gift by her love to his busi­ness part­ner.

“When I was a lit­tle girl, my mother told me that if I put a pa­per boat on the wa­ter with my wishes writ­ten on it, those wishes would come true. Now I wish to go to a ru­ral pri­mary school, and teach chil­dren there to read and dance.”

Each “pas­sen­ger” aboard is telling his/her story emo­tion­ally, and all we

喝着剪纸、汉绣的货郎……所有的细节都在还原着最原汁原味的老汉口码头风貌,也在暗示着游客,你已经进入了一个不一样的时空。

“你看她穿着旗袍真好看!”我的同伴发现身边有一对身穿旗袍和长衫的夫妻,挽着手,拎着皮箱从身边走过。

再抬头,船舷上都是民国时代的人物,他们有的在亲昵交谈,有的在与船下的人道别,有的喝得酩酊大醉,有的正在匆匆找房间。每个人,都有他们自己的故事——

小玉兰是刘家戏班子最受师傅宠爱的旦角儿。乱世之中,刘家班遭了难,曾经一心想嫁给大师兄的小玉兰不得已决定乘坐“知音号”嫁给将军,以救回戏班。在“知音号”的舱房里,小玉兰看着自己第一次登台时师傅亲手为自己做的头面,想起过去在戏班的种种和大师兄的点滴,不禁潸然泪下。

而在小玉兰的隔壁,一位舞女把手中的船票折成了纸船。她要跟生活了20年的这个城市说再见,因为她的爱人把她当礼物送给了生意伙伴。“小时候母亲告诉我,把心愿写在纸船上放到水里,愿望就会实现。我想要去一所乡村小学,教那里的孩子们识字、唱

歌。”

这里的每一位“乘客”,都在动情地讲述着他们的故事,我们需要做的,只是聆听:这里有每天点同一种酒等同一个电话的男人;有总是自己带酒,喝醉就述说情伤的大叔;也有因为家庭阻挠,久别重逢的恋人;还有曾经叱咤汉口的地皮大王,因为洋人入侵土地尽失,他决定发表一份联合声明唤起民意,向洋人抗议。

动荡年代的爱情故事,总会蒙上一层哀伤;战火硝烟中的爱国人士,总会有着一腔悲壮。

我翻阅记录老汉口历史的文献发现,晚清民国时期,武汉至少出现过五大房地产大亨,但能被称为“汉口地皮大王”的,则是一个名叫刘歆生的商人。据说,现在繁华的汉口闹市中心江汉路,起初就是以他的名字命名——歆生路;和歆生路相垂直的三条马路也依次定名为歆生一路、歆生二路、歆生三路(今江汉一路、江汉二路、江汉三路);

1938年,日寇攻进武汉,伪军强占了刘歆生位于汉口循礼门的刘家花园做司令部。日本人想要刘歆生出面当维持会长,为侵略者效力。可是他们始终找不到刘歆生本人。原来早在日军逼近汉口时,刘歆生就警告其家人,不准和日本人做生意。当日军侵入汉口前,他住进了法国租界一直没有露面,直至病重去世。

need to do is to lis­ten. There is a man who or­ders the same liquor and waits for the same call every day, a drunk mid­dle-aged man who brought his own al­co­hol aboard and is bab­bling about his heart break, and a cou­ple who once broke up be­cause of the ob­struc­tion of their fam­i­lies and re­unites here de­light­fully. There is also a for­mer “land king” of Hankou. He has lost the own­er­ship of his lands be­cause of the for­eign in­va­sion, and now an­nounces a joint state­ment in or­der to call up the pub­lic to fight against in­vaders.

Love sto­ries in tur­bu­lent times are al­ways eclipsed by sor­row; pa­tri­otic per­son­ages in war times al­ways be­come solemn and stir­ring.

I looked through the his­tor­i­cal doc­u­ments of Hankou and found that dur­ing the late Qing dy­nasty and the Repub­li­can pe­riod, there had been at least five real es­tate ty­coons, among whom only one busi­ness­man named Liu Xin­sheng had been called “Land King of Hankou.” It is said that the pros­per­ous Jiang­han Road in the cen­ter of Hankou down­town was orig­i­nally named after that “king” as Xin­sheng Road; and other three roads were named Xin­sheng First Road, Xin­sheng Sec­ond Road, and Xin­sheng Third Road. (Now they are Jiang­han First Road, Jiang­han Sec­ond Road, and Jiang­han Third Road.)

In 1938, Wuhan was at­tacked by the Ja­panese army and the pup­pet army; Liu Xin­sheng’s gar­den in Xun­li­men, Hankou was oc­cu­pied for be­ing the head­qurters of Ja­panese Army. The Ja­panese wanted Liu to serve them and work as a “main­te­nance mayor,” but they could not find him. It turned out that be­fore the Ja­panese ap­proached Hankou, Liu had hid­den him­self in French Con­ces­sion. The ty­coon told his fam­ily never to do busi­ness with Ja­panese; he lived in refuge till his death of se­ri­ous ill­ness.

Fully loaded with sto­ries, Zhiyin is like a mi­cro­cosm of old Wuhan. Be­ing here to wit­ness the vivid lives in every cor­ner of the ship, you will feel yourself be­come a part of that his­tory. The ball­room, the bar, the café, and even the stairs or the cor­ners of cor­ri­dors… each part of Zhiyin is like a stage where a new episode is be­ing per­formed. The tourists are so at­tracted that they can’t look away, al­most for­get­ting that they are trav­el­ing on the Yangtze River. When the ac­tors and ac­tresses stop to in­vite the au­di­ences to the fourth floor, the pas­sen­gers sud­denly find that the ship is al­ready in the mid­dle of the river, and is just pass­ing through un­der the Sec­ond Wuhan Yangtze River Bridge.

The ma­jes­tic bridge ap­pears quite amaz­ing in the light; and the pas­sen­gers now have a unique per­spec­tive of the bridge. The brightly-lit build­ings along the river banks drag peo­ple back to the mod­ern re­al­ity. Watch­ing from the deck, the lights and the moon­light add ra­di­ance and beauty to each other; the river wa­ter glit­ters in both. The build­ings ex­ist­ing and those un­der con­struc­tion are har­mo­niously nestling each other.

知音号这艘满载故事的船,浓缩了老武汉的过往,就像一个浓缩的小世界,每一个角落都上演着人间百态,而作为观众的你,就是故事的一部分,见证着老武汉的起伏兴衰。

舞厅、酒吧、咖啡厅,甚至是楼梯、走廊拐角,“知音号”的每一个角落都是舞台,每一秒都有新的剧情在上演,吸引着游客几乎没有时间望向窗外,甚至忘了自己身在长江之上漂流。直到演员们邀请大家走上四层甲板,许多人才蓦然发现,此时游轮已行至江水中央, 正好从武汉长江二桥下穿过。正好从武汉

这座巍峨壮观的武汉长江二桥这座巍在灯光的照射下,十分惊艳。这是在灯光的照长江上独一无二的观桥视角,两岸长江上独一灯火通明的高楼,一下把人拉回到灯火通明的现实的时空。从甲板上望去,灯月现实的时空辉映,水色潋滟,已有的和正在兴辉映,水色建的高楼错落有致地相互依傍,使建的高楼错得夜景格外好看,仿佛能看到这座得夜景格外依江而兴的城市的未来模样。依江而兴的

“长江二桥,哎呀,真的是穿“长江越了!”人们纷纷惊叹。越了!”人

据据说说,如果在汛期,水位高涨,站在四楼甲板上,个子高的涨,站在人甚至伸手可以摸到二桥。也人甚至正是因为这个原因,为了顺正是利通过长江大桥和二桥,利知音号的烟囱也改为可升知降式,避免与桥体发生碰降撞。撞

我们不禁感慨:武汉因因水路而发达,因商路而繁繁盛。经历百年的发展,那艘见证过老武汉变迁的老江华轮,大概怎么也不会想到,在如同天堑的长江上,会飞架起这么多的桥梁。

随着一声汽笛声响,知音号再次靠岸,游客们陆续下船。

在岸上,我将一张写有地址的明信片投入邮箱筒内。地址写的就是我自己的住址,就像是一百年前的我,寄给21世纪的自己。我想,等我收到这张明信片的时候,我也许正在用着智能手机给远在异国的好友发送即时讯息。

正如人们所说,停船下岸,是一个故事的结束,也是另一个故事的开始……

延伸阅读——

“知音号”是由武汉旅游发展投资集团与知名导演樊跃团队联袂打造的文化大剧。该剧以知音文化为灵魂,以大汉口长江文化为背景,重现了上世纪二三十年代大武汉的生活图景,今年4月 26日起全球公演。

“知音号”长120米、宽22米、高15米,98个舱室,排水量4015吨。船身由厚重的黑色打底,三层船舱是老照片一样的淡黄色,原木的地板、圆圆的舷窗,近百间客房,走廊、灯光、桌椅、床榻甚至门把手等所有道具,均是精心打造的仿古造型。

有媒体称,“知音号”不仅是一个可以亲身体验百年前武汉风情的大型剧场,更是一座唤醒城市记忆的“漂移的博物馆”。

A more pros­per­ous city by the rivers will be there.

“Wow! The Sec­ond Yangtze River Bridge! We are re­ally trav­el­ling through time”. ex­claimed the tourists.

It is said that, in the flood sea­son, the wa­ter level will rise up and those tall peo­ple who stand on the deck of the fourth floor can even reach out to touch the Sec­ond Bridge. For this rea­son, the chim­ney of Zhiy­in­hao is the ex­tend­able type in or­der to avoid crash­ing on the bridge bot­tom.

Wuhan flour­ished on wa­ter­ways as an im­por­tant port city. The old

ship Jianghua which had wit­nessed the vi­cis­si­tudes of old Wuhan would never imag­ine these many bridges across the mighty Yangtze River built a hun­dred years later.

With a sound of siren, Zhiy­in­hao docks again, and tourists dis­em­bark in suc­ces­sion. On the shore, I put a post­card with an ad­dress into a mailbox. It’s my own ad­dress; and it’s like a card sent by a hun­dredyear-ago per­son to his 21st-cen­tury rein­car­na­tion. I might be us­ing my smart­phone to send in­stant mes­sages to my friends in for­eign coun­tries when I re­ceive this post­card.

As peo­ple say, dock­ing at the shore is the end of a story, as well as the be­gin­ning of an­other…

Back­ground:

The Ship of Zhiy­in­hao, a form of grand cul­tural drama, is cre­ated by Wuhan Tourism De­vel­op­ing In­vest­ment Group and Fan Yue Team, a group of well-known direc­tors. The drama is per­formed in the style of Zhiyin cul­ture (based on the an­cient tale of the friend­ship be­tween mu­si­cian Boya and his lis­tener Ziqi) and set in the back­ground of Hankou’s Yangtze River cul­ture; it re­pro­duces life in Wuhan in the 1920s and 1930s. The pub­lic pre­miere per­for­mance started on April 26 th of this year.

The ship is 120 me­ters long, 22 me­ters wide, and 15 me­ters high. It has 98 cab­ins, with a dis­place­ment of 4,015 tons. The hull is painted a deep black, while the cab­ins on the three floors are in faint yel­low (as ap­peared in old pho­tos). The tim­ber floor, the round port­holes, the one hun­dred guest rooms, the aisles, the light­ing, the ta­bles and chairs, the beds, and even the han­dles are all of ex­quis­ite an­tique style.

Zhiy­in­hao, ac­cord­ing to some me­dia, is not only a large theater in which tourists can ex­pe­ri­ence the charm of Wuhan 100 years ago, but also a “drift­ing mu­seum” that awak­ens the mem­o­ries of the city.

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