拉萨:文化人的圣城

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拉萨，是藏民心目中的圣城。围着拉萨旧城圈绕的是大转经道；围着布达拉宫绕的是中转经道；围着大昭寺绕的是小转经道。转经，是藏民必修的功课，因而转经的道场理所当然被视为圣地。拉萨是朝圣者建起来的，最初是作为宗教活动中心而发展起来的。今天的拉萨除了是藏民的圣城，同时也是中国各地文化人的圣城。

大概是在上世纪80年代初吧，来自各地的文化人忽然一窝蜂地拥向，拥向圣城。这灵感之始也不知是源于谁，总之，一时间大家都对这块高土倾注了前所未有的热情与激情，纷纷向它拥来。这些文化人中包括作家、诗人、学者、科学家、画家、摄影家、音乐人、影视人等等，其中又以画家与摄影家占大多数。这些文化人到圣城来虽不为礼佛，不为修来世，却也都怀有类似朝圣般的情绪：他们想要了解、诠释甚至破译圣城，更希望能被圣城所接纳(以期能够融入拉萨的人文环境)，于是他们便到拉萨寻访、聆听、发现，然后从各方各面去表达他们的感悟与感情。于是他们的作品充满惊叹与激赏，场面浩大而悲壮……这种一元化主题的艺术风，也瞬间席卷马来西亚。因这潮流而走红的作家、文化人、艺术家不计其数，如作家扎西达娃、摄影家吕玲珑、画家陈丹青、作曲家何训田等等都是其中的佼佼者，非常具有代表性。他们中除了扎西达娃都是外来的“艺术朝圣者”。然而，不管在什么领域，大凡有利可图必然会出现一些投机分子，他们假借艺术之名，把所谓的人文关怀、精神境界功利化和商业化，要知道这块高土从来就是与功利绝缘的，于是有批评者很不客气地指出：这类所谓的艺术根本就是媚俗商品，扭曲了。如今20多年过去了，当年那股走向、走向圣城的热潮到底是降温了。但以“圣城拉萨”作为创作主题仍然历久不衰，拉萨依然是文化人的圣城。

在中国文坛上，魔幻现实主义曾有过一段很蓬勃的日子。莫言、残雪、格非、马原、余华等“先锋派”作家的小说都曾很魔幻。就连贾平凹的《废都》也有很明显的魔幻痕迹，不过真正得天独厚的应该是扎西达娃。他是藏族，生长在拉萨，这是他的优势，也可以说是一种天然契合。拉丁美洲魔幻现实主义文学流派的形成与开创，其神奇的地理环境、纷繁复杂的历史、浓厚的宗教情怀以及有着丰富内涵的神话传说，都是极重要的因素。对于，扎西达娃完全具备了上述的所有条件。所以，当扎西达娃挥动起他那管魔幻之笔，就比其他汉族作家来得轻便。在魔幻形态笼罩之下，他的小说所呈现出来的诡秘，除了现实与虚幻交错，生与死和宗教相融合之外，更多的是对本民族的宿命观念，文化心理，沉重而衰老的历史的思考……

扎西达娃虽在偏远的异域，但在中国文坛上却不是个生僻的名字。代表作《，系在皮绳上的魂》获1985―1986全国优秀短篇小说奖，他的其他作品亦多次获奖；他在法国、日本、台湾地区出版小说集，另外还有部分作品被译为英、法、德、日、西班牙等文字。

那个下午，扎西达娃坐在我面前，杯里的香片飘着茉莉花的幽香。他微笑着，用低缓的声音对我说：“我没写小说很久了。”我禁不住愕然，许久才问：“为什么?”他说现时阶段不是写小说的时候。我沉默了一会，然后想，也许吧，他的“不是时候”，是个寻找突破口的问题。即使有再多的诡秘和灵异，再迷离的境界，也不可能永永远远一直魔幻下去的吧。文学形式不纯粹是形式，它应该还有其他的，比如借鉴、学习甚至是超越――从事艺术创作，始终认为自觉与自省比才华横溢更重要，更能让人敬重。

回到宾馆，我到柜台取钥匙。柜台小姐笑吟吟地问：刚才来接您的人是扎西达娃吧?我说是呀，你认识他?她说不是认识而是认得，常在电视上见到的嘛，他是我们拉萨的名人。

这是个媒体资讯时代，也不能例外。今天的扎西达娃已成了影视人。关于这方面，我没问他过程。他告诉我他的近况：正在拍摄一辑片子，内容是描述当年英军入侵，江孜军民奋起反抗，最后宁死不屈，从宗山上跳崖殉国。今年刚好一百年，这片子是为纪念英勇的军民抵抗外强的那段历史而摄制的。他说罢笑了笑，然后带点自嘲意味地又加了句：“很官方的。”

听在耳里，不知怎的我竟有种莫名的惆怅。

傍晚扎西达娃与一位年轻的女孩一道来接我们出去晚餐。他这样介绍她：拉萨的外来者，老家在厦门。来是为寻找写小说的灵感。一呆三年，还没有要走的意思哪。

厦门女孩长得很清秀，皮肤白皙细腻，令人难以相信已在呆了漫长的三年。我不由脱口而出：你怎么晒不黑的?她说这得归功于防晒霜和润唇膏。在什么都能省，就是这种花费不能省。扎西达娃马上接口说：“花费?你可别让她误导。这种花费根本不足以挂齿。”后来才逐渐发现在这个女孩的观念里，的什么东西都是最低廉的，低到“不足以挂齿”。女孩毕业自美国某大学经济系。回到中国不想学以致用，却跑到来写小说。她在拉萨租了一套房一个人住，三年来就光是在到处走。我不禁问：“你一定有个很有钱的老子吧?”扎西达娃即刻代她回答：“在生活不需要很多钱。如果你愿意的话，也可以到来写作。在这里钱不是很重要的。”言语间不无以不涉金钱功利的空灵清澄而骄傲。我想，此人热爱已到了痴情的程度。

女孩到来的目的是写小说，无疑是把作为灵感的源泉，这当然也是一种朝圣行为。

接下来的几天里，我们又在拉萨遇到了好些类似的“外来者”。这些人当中，有来自北京的画家，有从昆明骑自行车历时一个多月跋涉到的摄影家，还有其他我也搞不清楚是什么专业的学者。总之，都是些艺术文化人，有的在拉萨已扎下了根；有的虽然“无根”，回去后，却总是思念着拉萨，于是又背起行囊再度回到。那位北京画家就是其中之一，他说将近十年来，他一直在通往的路上来来往往，他饱览了的山川湖泊，在跟随藏民转经朝圣的沿途上让他看到了世界上最壮丽的险峻、最旷世的沉寂、最超然的悠远、最美丽动人的传奇色彩……最后他总结式地说：“藏民千百年来遥远而漫长的朝圣之路，实际是一条让人增长知识的路。”

这位蓄着一头披肩长发和大胡子的画家，皮肤黝黑，满脸风霜。如果他不说，我们肯定会把他看作是远道而来的朝圣藏民。我与他聊到藏民的，他立时滔滔不绝，还详尽地介绍了佛教的大乘、小乘、显教、密教的特色与形成过程，胸襟与见识如同的天空一样开阔。我们在赞叹之余，不禁问道：“您皈依佛门很长时间了吧?”不意他竟摇头：“我人笨，没慧根，不能开悟，谈何皈依?”但是画家却走出了他自己的里程碑。作为一个艺术朝圣者，画布是他的道路，他是这路上的苦行真僧。拉萨，对于艺术创作者总有一种难以抗拒的召唤，这些文化人不断地奔向她，为她痴迷，这无疑是她启发了他们，她为创作注入新元素的同时又能让他们各取所需。这所有的一切，不就是因为她具有凝重的历史内涵和丰富无比的文化意蕴吗?

(本文作者为马来西亚华文作家协会《马华作家》主编)

Lhasa Creates a Cultural Trend

By Li Yi (Malaysia)

Lhasa is a sacred city for Tibetans. The city, created by pilgrims, first grew as a center of religious activities. Today, it is more than a sacred city for Tibetan pilgrims. It magnetizes the cultured people from all over the country.

The trend started in the early 1980s. For a moment, cultured people poured into Tibet and the sacred city. The remote place inspired their passion and enthusiasm. These cultured people included authors, poets, scholars, scientists, painters, photographers, musicians, and film and TV makers. Most of the zealots were photographers and painters. They came not to pay homage to Buddha, or to seek an afterlife, but their sentiment resembled that of Tibetan pious pilgrims. They wanted to learn and interpret and even decipher the sacred city. They desired to be harmoniously woven into the local aura. Their creations were fraught with marvel and admiration against a grand and sometimes solemn background. Riding on the trend were some authors and artists. For example, photographer Lu Linglong, painter Chen Danqing, composer He Xuntian, author Zhaxi Dawa are representatives of the famed. Zhaxi Dawa is Tibetan, but the others are from the outside. Some profiteers took advantage of Tibet and tried to commercialize the humanistic concerns and spiritual pursuit. Some critics point out that this kind of art distorted Tibet. Twenty years have passed and the craze has waned, but Lhasa remains a hot subject for many cultured people.

For a while, magic realism fascinated China’s literary circle so much that some best writers vied to appear avant-garde. The best of the avant-garde writers, however, is arguably Zhaxi Dawa. Magic realism calls for, among other things, a magic geographic location, a complex and eventful history, a profound religious sentiment, and rich myths. Zhaxi Dawa seems to have these factors all in Tibet. His writings commingle the real and the unreal, and touch life, death and religion. His books probe into Tibetans destiny, the region’s cultural psychology and history.

Zhaxi Dawa is not an unknown name among Chinese writers. His representative work, Tibet, a Soul Tied on a Leather Rope, won the national best short story award for 1985-1996. His short stories were translated into many languages and published in France, Japan, and Taiwan.

One afternoon I met Zhaxi Dawa. Over a jasmine tea, he smiled and said in a low voice that he hadn written a story for a long time. I was stunned. He continued to say that it was not the time for stories. I remained silent. Probably he was trying to seek a breakthrough. One can forever use magic realism to describe Tibet, even though the ancient region has abundant mystical charms and tales. There must be something beyond formats. Looking into one’s heart and soul is more important.

Through Zhaxi Dawa, I met a girl from Xiamen of southern China’s coastal Fujian Province. Zhaxi Dawa said that she came to seek inspirations for a novel she wanted to write and she had been in Lhasa for three years without thinking of leaving. She majored in agriculture in an American university. After graduation, she came to Tibet. Tibet has something to make people infatuated with it. Her stay in Lhasa is a kind of pilgrimage.

In following days I met more cultured pilgrims from outside Tibet. One was an artist from Beijing. Another was a photographer who had ridden a bicycle all the way from Kunming to Lhasa. The journey took him more than a month. I could not figure out what some other cultured pilgrims did back home. But they were all artists. Some had taken roots in the city. Some went home, but came back again to Lhasa. The artist from Beijing was one of them. He said that for the last ten years he had been journeying back and forth on the road to Tibet. He had seen lakes and mountains in Tibet. He had followed Tibetan pilgrims step by step to Lhasa.

With a long beard and long hair reaching the shoulders, the artist looked like a Tibetan pilgrim. In our conversation, he talked as profoundly and knowledgeably as an expert when it came to Buddhism. Then I asked if he had been converted to Buddhism. To my surprise, he said no. He said, am not smart. I don have the root of wisdom. How could I become a converteeAs an artist, he had gone far. The canvas was his road and he was a pilgrim on that road.

Lhasa is an irresistible call to artists. They come to the city, for she inspires them and injects new elements into their artistic pursuit and creations. All this points to her historical significances and peerless cultural meanings.

(Translated by David)