錢塘江是杭州的母親河，是杭州城市發(fā)展的重要軸帶，錢塘江展現(xiàn)吳越山水的獨(dú)特魅力，形成一條獨(dú)具韻味的文化之路。一直以來，錢塘江是文人墨客的鐘情之地，留下了無數(shù)膾炙人口的詩(shī)文華章。傳統(tǒng)文化是一座城市的靈魂，也是社會(huì)經(jīng)濟(jì)高速發(fā)展的“加速器”和“助推器”

錢塘江唐詩(shī)之路是一條充滿詩(shī)情畫意的水上畫廊，歷來被稱為“錦峰繡嶺，山水之鄉(xiāng)”。唐代，浙西山水成為唐朝100多名詩(shī)人“壯游吳越”的必經(jīng)之地，留下了500多篇傳頌千古的詩(shī)篇。“錢塘江唐詩(shī)之路”與國(guó)家級(jí)風(fēng)景名勝區(qū)“富春江—新安江（千島湖）”，成為沿線富陽、桐廬、建德、淳安四區(qū)（縣、市）寶貴的文化遺產(chǎn)。這條路線以古人的詩(shī)歌創(chuàng)作為線索，兼?zhèn)湮墨I(xiàn)、文學(xué)與地理學(xué)價(jià)值，既具文學(xué)審美性，又蘊(yùn)藏深刻的文化內(nèi)涵。

全流域充盈詩(shī)韻

錢塘江，古稱浙，全名“浙江”，又名“折江”、“之江”、“羅剎江”，因塘縣（今杭州）而得名，是吳越文化的主要發(fā)源地之一，是浙江省的母親河。錢塘江源遠(yuǎn)流長(zhǎng)，其詩(shī)路綿長(zhǎng)共分三大流域。

新安江流域——建德、桐廬境內(nèi)的嚴(yán)州，位于錢塘江上游山區(qū)，錦峰繡嶺，山高水長(zhǎng)，是錢塘江唐詩(shī)之路上的重鎮(zhèn)，她的美麗山水催生出了中國(guó)絕好的山水詩(shī)、絕佳的山水文章和絕美的山水畫。讓詩(shī)路不僅興盛在紙筆間，更興旺在實(shí)景中。嚴(yán)州是山水詩(shī)的故鄉(xiāng)。中國(guó)山水詩(shī)的開創(chuàng)性人物謝靈運(yùn)的許多名作寫的就是嚴(yán)州風(fēng)光。

宋武帝永初三年（422），三十八歲的謝靈運(yùn)出任永嘉太守，取道錢塘江溯流而上，經(jīng)富春江、新安江，轉(zhuǎn)道蘭江前往永嘉，旅途中寫下了《富春渚》《七里瀨》等詩(shī)篇，“江山共開曠，云日相照媚?！保ā冻跬掳仓镣]口》）“石淺水潺湲，日落山照曜?！保ā镀呃餅|》），就是其中膾炙人口的名句，傳誦古今。

另有沈約《新安江至清淺深見底貽京邑游好》“洞徹隨清淺，皎鏡無冬春”、孟浩然《宿建德江》“野曠天低樹，江清月近人”、劉長(zhǎng)卿《送杜越江佐覲省往新安江》“清流數(shù)千丈，底下看白石”、郎士元《送奚賈歸吳》“水清迎過客，霜葉落行舟”……可以說，歷代旅居于新安江畔的詩(shī)人們都對(duì)新安江之水頗為偏愛，他們鐘情于江水之“清”，并傾力描繪。新安江之水在他們筆下被賦予了清澈、純粹、澄明的內(nèi)涵。他們對(duì)江水之清的書寫，不僅是客觀的描摹，也是對(duì)自身心志的寫照，希冀自身在繁雜的俗世中堅(jiān)守本心的清澈。

到了唐代，人們對(duì)山水美學(xué)有了更深刻的認(rèn)識(shí)，自然山水既是描寫的對(duì)象，又是詩(shī)人感情的載體，山水詩(shī)成為詩(shī)人抒發(fā)感情的一種藝術(shù)形式，涌現(xiàn)出了許多佳作，形成了著名的山水詩(shī)流派，李白、杜甫、王維、孟浩然等大詩(shī)人為代表作家。在唐代的山水詩(shī)中，孟浩然的《宿建德江》一詩(shī)堪稱絕作：移舟泊煙渚，日暮客愁新。野曠天低樹，江清月近人。

而在富春江流域，雖有如任昉《嚴(yán)陵瀨》一類寫景詩(shī)，但多數(shù)以懷古為主題，欽慕嚴(yán)子陵的高風(fēng)亮節(jié)。如謝靈運(yùn)《七里瀨》“目睹嚴(yán)子瀨，想屬任公釣”、許渾《晚泊七里灘》“榮華暫時(shí)事，誰識(shí)子陵心”、梅堯臣《詠嚴(yán)子陵》“終為蘊(yùn)石玉，敻古輝巖陬”、王維《送李判官赴東江》“樹色分揚(yáng)子，潮聲滿富春”、孟郊《送無懷道士游富春山水》“山濃翠滴灑，水折珠摧殘”、吳融《富春》“長(zhǎng)川不是春來綠，千峰倒影落其間”……這些詩(shī)歌或贊嚴(yán)子陵風(fēng)骨，或陳歸隱之心，將富春山水寫得生動(dòng)秀麗、青翠可愛。

桐君山因藥祖桐君聞名，所存詩(shī)作甚夥。如蘇轍“多病未須尋藥錄，從今學(xué)取衲僧閑”，盧琦“碧桐花下覓神仙，白日山中遇樵牧”，黃淳耀“花開游子路，云泊野僧關(guān)”。桐君山在詩(shī)人們筆下儼然方外之地，被賦予仙人之氣，飄逸出塵。

錢塘江流域名人薈萃，有著深厚的文化積淀。錢塘江流域涌現(xiàn)出科學(xué)家王充、文學(xué)家王國(guó)維、歷史人物孫權(quán)、陳碩真、當(dāng)代畫家葉淺予、作家郁達(dá)夫、革命文藝家夏衍等。畫家黃公望的富春山居圖，盡顯錢塘江山水的魅力。歷代無數(shù)名人游歷錢塘江山水，留下了膾炙人口的詩(shī)文。

如徐凝《觀浙江濤》“浙江悠悠海西綠，驚濤日夜兩翻覆”、劉禹錫《送元簡(jiǎn)上人適越》“浙江濤驚獅子吼，稽嶺峰疑靈鷲飛”、羅隱《錢塘江邊》“怒聲洶洶勢(shì)悠悠，羅剎江邊地欲浮”……這些詩(shī)歌著意于錢塘江的壯美，極盡筆墨，寫其豪邁氣勢(shì)。六和塔則集塔與潮為一體，如朱繼芳《六和塔》“孤尖標(biāo)白浪，層級(jí)上青天”、陳邦瞻《秋日登六和塔》“飛塔崚層聳碧空，七盤長(zhǎng)壓海濤雄”、朱崧《登六和塔觀潮》“卷地北風(fēng)起，天邊涌雪濤”……這些詩(shī)歌中，登塔與觀潮往往伴隨而生，觀潮是登塔后的水到渠成。詩(shī)人們?nèi)≈T懷抱，被塔與潮的萬千氣象所感染，并由此提升了詩(shī)歌創(chuàng)作的境界。

多樣的詩(shī)歌審美

錢塘江詩(shī)路沿線詩(shī)歌，既可以用白描手法，直觀呈現(xiàn)江河山川情貌，引人無限遐想;又可以巧用諸多修辭，以絢爛的筆墨，形象描繪山水風(fēng)神，通過文字給人以視覺沖擊。前者如白居易《詠潮》“早潮才落晚潮來，一月周流六十回”、焦循《渡錢塘江望六和塔》“曉來江上看西岸，一塔獨(dú)紅山樹青”、屠應(yīng)埈《桐江辭送沈子春尹桐廬》“桐君山在白云邊，海霧初開江日寒”等，以樸筆客觀描繪山川，曉暢清晰。

后者如李白《橫江詞》“浙江八月何如此，濤似連山噴雪來”、吳融《富春》“水送山迎入富春，一川如畫晚晴新”、楊萬里《新安江水自績(jī)溪發(fā)源》“泉從山骨無泥氣，玉漱花汀作珮聲”等，以比喻、擬人、夸張等修辭，或清辭麗澡，或濃墨重彩，以詩(shī)人自身的感受相點(diǎn)綴，將山川風(fēng)物寫得生動(dòng)有趣。

詩(shī)人們游歷于錢塘江沿線，沿途山川不僅激發(fā)了詩(shī)情，也為其帶來生命的狂想，這集中體現(xiàn)于時(shí)間的碰撞與空間的擴(kuò)張。在時(shí)間維度上，詩(shī)人們與古今往來的人物、故事對(duì)話。如胡曾《姑蘇臺(tái)》“不覺錢塘江上月，一宵西送越兵來”、范欽《六和塔》“山圍吳子國(guó)，江落伍胥潮”、陳萇《醉書桐君山寺壁》“常笑羊公同湛輩，敢羞噲等伍韓生”等，不經(jīng)意間，以有意味的意象人事悵望千秋，論學(xué)古今，強(qiáng)化了詩(shī)歌的表現(xiàn)力。在空間維度上，常以對(duì)比的方式，拉伸擴(kuò)張，方位之間，視角多變。如張翥《登六和塔》“日生滄海橫流外，人立青冥最上層”、陳邦瞻《秋日登六和塔》“鳳凰臺(tái)北休回首，禾黍千秋是故宮”、楊時(shí)《過七里灘》“拂云高雁倚風(fēng)摶，下視平湖萬里寬”、黃淳耀《登釣臺(tái)》“雨流巖下釣，星動(dòng)澤中天”等，或一南一北，或一在江河，一在青天，而人立于四方中，仰觀俯察，與宇宙相感知，肆意汪洋，蓬勃瀟灑。

錢塘江詩(shī)路上的詩(shī)歌創(chuàng)作，無論是以我觀物還是以物觀物，無論是源于現(xiàn)實(shí)還是騁乎想象，幾乎都做到了情、景、意的融合。如沈約《早發(fā)定山》，以“夙齡愛遠(yuǎn)壑，晚蒞見奇山”開篇，表明對(duì)山水的癡愛之情。其后數(shù)韻，描繪定山之美，以“標(biāo)峰彩虹”“置嶺白云”“傾壁斜豎”“絕頂孤圓”寫定山情狀與氣象。后以“歸海流漫漫，出浦水濺濺。野棠開未落，山櫻發(fā)欲然”接續(xù)，江河之浩大、草木之自然，與定山之瑰麗奇?zhèn)ソ幌噍x映。由此轉(zhuǎn)入芳草寄意，以“眷言采三秀，徘徊望九仙”結(jié)尾，表明自身雖沉浮于宦海，卻系心于杜蘭的歸隱之意。全詩(shī)色彩濃郁，畫面舒展，立意超拔，自然圓融。又如白居易《宿桐廬館同崔存度醉后作》：“江海漂漂共旅游，一尊相勸散窮愁。夜深醒后愁還在，雨滴梧桐山館秋。”寥寥數(shù)語，以直白之筆，寫旅居秋景、延綿愁思，詩(shī)盡而意無窮。再如劉長(zhǎng)卿《余浦橋月下重游》，秋風(fēng)颯颯，黃葉離別，青山朝暮，以帶有蕭條傷秋的實(shí)景與意象相疊加，離愁郁結(jié)，而末句“明日行人已遠(yuǎn)，空余淚滴回潮”則將情感滲透于文字間，又將郁結(jié)的情感通過“淚滴回潮”疏導(dǎo)排遣，別致而有韻味。這些詩(shī)歌，以情驅(qū)動(dòng)，以景主導(dǎo)，以意點(diǎn)睛，三者聯(lián)動(dòng)，在不斷地調(diào)和中臻于圓融。

深刻的文化內(nèi)涵

錢塘江詩(shī)路，不僅是旅游之路、詩(shī)歌之路，也是文化之路、精神之路。它在厚重的歷史積淀中，蘊(yùn)藏著深邃的文化內(nèi)涵。

錢塘江詩(shī)路體現(xiàn)的文化氣質(zhì)，既有“山花含雨濕”的溫婉柔美，又有“鐵馬擁萬鎧”的剛烈霸氣。一方面，錢塘江詩(shī)路上的山水，因江南特有的地理環(huán)境而顯得溫柔婉約。他們或清新雋秀，或夢(mèng)幻旖旎。是蘇軾筆下的“水天清，影湛波平。魚翻藻鑒，鷺點(diǎn)煙汀”（《行香子·過七里瀨》），也是汪筠筆下的“今夜梅花城下宿，滿船香霧夢(mèng)回疏”（《泊嚴(yán)州》）。另一方面，歷史積淀的人物與古事，又為山水注入剛烈之氣。如新安江千島湖有海公祠，為清廉敢諫的海瑞而建。富春江小三峽有子胥渡，因剛烈肝膽的伍子胥而得名。錢塘江畔有六和塔，在吳越王錢弘俶的主持下，為鎮(zhèn)伏江潮而建，如將軍一般鎮(zhèn)守江畔。這種剛與柔的交融，歷史與自然的交錯(cuò)，讓錢塘江詩(shī)路擁有了無限的張力。

錢塘江詩(shī)路上的奇山異水，可以是理想的起點(diǎn)，也可以是理想的終點(diǎn)。有志之士于此出仕，懷抱天下;高蹈之人于此歸隱，逍遙人生。朱彝尊《富春道中》曰：“霸業(yè)孫郎，高風(fēng)嚴(yán)子，畢竟論誰勝?！睂O氏父子與嚴(yán)子陵，是這二者的典型代表。陸游《泛富春江》：“雙櫓揺江疊鼓催，伯符故國(guó)喜重來?！睂O堅(jiān)、孫策、孫權(quán)父子三人起于富春龍門，開創(chuàng)霸業(yè)，于亂世中庇佑一方安寧，留下無數(shù)故事。張伯玉《釣臺(tái)》：“先生有意羲皇外，不為林泉傲帝居。”嚴(yán)子陵與光武帝間的情誼讓人羨慕，其本人外得明君，內(nèi)修大義，不慕榮利，山高水長(zhǎng)，遺澤后世。仕與隱，在這片山水中相協(xié)奏，為錢塘江詩(shī)路平添幾許傳奇色彩，增強(qiáng)了詩(shī)路的魅力。

錢塘江詩(shī)路最感心動(dòng)耳處，便在于潛藏著的英雄主義情懷。無論是本土之人還是旅居之人，總不乏心系家國(guó)、為民生謀福祉的英雄。傳說吳越王錢镠感于江潮決堤之患，行射潮之事，與“十萬軍聲半夜潮”的錢江潮水相搏擊。傳說雖不可考，卻足以說明錢镠本人的英雄氣概。謝翱于嚴(yán)陵釣臺(tái)哭祭文天祥，為之作招魂歌：“魂朝往兮何極，暮來歸兮關(guān)水黑，化為朱鳥兮，有咮焉食?！逼浔救送砟耆栽诮阋粠ЫM織“汐舍”“月吟詩(shī)社”，書寫愛國(guó)詩(shī)篇。徐夜贊其“生為信國(guó)流離客，死結(jié)嚴(yán)陵寂寞鄰”。生于富春江畔的郁達(dá)夫執(zhí)著抗日，大義凜然，卻在蘇門答臘島慘遭日軍殺害。其兄郁華亦被敵偽殺害于上海，其母也因不吃日軍食物餓死洞中，一門忠烈。郁達(dá)夫在《離亂雜詩(shī)》中慷慨陳說生平志向：“一死何難仇未復(fù)，百身可贖我奚辭。會(huì)當(dāng)立馬扶桑頂，掃穴犁庭再誓師。”“天意似將頒大任，微軀何厭忍饑寒。長(zhǎng)歌正氣重來讀，我比前賢路已寬?！边@種凜凜人如在的天地英雄氣橫亙古今，壯大了錢塘江詩(shī)路的格局。

（本文參考了林家驪《錢塘江詩(shī)路文化述論》，深表感謝。）

The Qiantang River Poetry Road： Home to Charming Mountains and Rivers＼

As the mother river of Hangzhou and an important axis for the citys development， the Qiantang River presents unique charms of the Wuyue landscape along a characteristic cultural road. Since ancient times it has been a favorite place for Chinese literati.

In fact， the Tang Poetry Road along the Qiantang River is such a “poetic and picturesque gallery” that it has long been regarded as “home to charming mountains and rivers”. Indeed， during the Tang dynasty （618-907）， the mountains and rivers in western Zhejiang became must-visit places for over 100 poets on their “grand tour of Wuyue”， and more than 500 poems were composed.

The name of the Qiantang River derived from Tang county （now Hangzhou）， which is one of the most important birthplaces of Wuyue Culture. As the mother river of not only Hangzhou， but the whole Zhejiang province， the Qiantang River can be divided into three parts as far as poetry is concerned.

First， the Xinan River Basin， encompassing one of the most important places in Tang poetry： Yanzhou， which is located in present-day Jiande and Tonglu cities， along ??the upper reaches of the Qiantang River， and is endowed with beautiful high mountains and long rivers. Its beautiful landscape has given birth to Chinas landscape poems， landscape essays and landscape paintings. Many masterpieces by Xie Lingyun （385-433）， the pioneer of Chinese landscape poetry， are about its scenery.

In 422， 38-year-old Xie Lingyun became the prefect of Yongjia. He took a boat there up the Qiantang River past the Fuchun River and Xinan River， and then turned to the Lanjiang River. On the trip， he wrote poems entitled “By the Fuchun River” and “Qililai”， with famous lines passed down from ancient times and recited even now：“among shallow stones water is gurgling， with the sunset illuminating the mountains.”

Fast forward to the Tang dynasty， when people had a deeper understanding of landscape aesthetics. Nature/landscape was not only the object of description. Landscape poems became an art form in which poets expressed their feelings. Many excellent poems emerged. Meng Haorans “Staying on the Jiande River for the Night” is one of the best known： “Mooring my boat to the misty bank， I begin to feel sad at dusk. In the wilderness the sky is touching the tree; in the clear river the moon is close to me.”

Second， the Fuchun River Basin. Although poets lavished praise on the scenery of this area， the majority took nostalgia and Yan Zilings moral integrity as their themes. Yan Guang （39 BC-41 AD， courtesy name Ziling） is a renowned hermit who lived in the final years of the Western Han dynasty （206 BC-25 AD） and early Eastern Han dynasty （26 AD-220 AD）. He declined the invitation from Emperor Guangwu of Han （5 BC-57 AD）， who also happened to be one of his best friends， to become a senior official and instead retreated to the Fuchun Mountains. Yans refusal to pursue money and power， despite the good chances offered him， has been later widely admired by Chinese literati.

Third， the Qiantang River Basin， where quite a number of celebrities and literary works were born， including the Han scientist Wang Chong （27-97）， historian and poet Wang Guowei （1877-1927）， Sun Quan （182-252）， founder of the state of Eastern Wu during the Three Kingdoms period， as well as literary writer Yu Dafu （1896-1945）， among many others. In fact， Dwelling in the Fuchun Mountains， one of the greatest Chinese paintings by Huang Gongwang （1269-1354）， depicts precisely the enchanting landscape along the Qiantang River. Over generations， countless famous personalities have travelled along the river， leaving a trail of popular poems and essays.

However， the Qiantang River Poetry Road is not only a road of tourism and a road of poetry， but also a road of culture and a road of? heroism.

The cultural temperament embodied in the Qiantang River Poetry Road includes not only the effeminate beauty of “mountain flowers with rainy dampness”， but also the masculine and virile strength of “iron-clad horses supported by ten thousand armors”. On the one hand， the landscape on this road is gentle and graceful thanks to the unique geographical environment of the Jiangnan area （south of the Yangtze River）. The poems are fresh and beautiful， dreamy and charming：“Tonight I stay in the city of plum flowers， dreaming in a boat full of fragrant mist”. On the other hand， historical figures and events have steeled the landscape. For example， there is the Hai Rui Temple in the Thousand Island Lake， built in memory of Hai Rui （1514-1587） who dared to criticize the emperor. There is the Liuhe Pagoda on the bank of the Qiantang River. Under the auspices of Qian Hongchu （929-988）， King of Wuyue Kingdom （907-978）， it was built to suppress the rivers damaging tidal bore， like a general guarding the bank of the river. The blend of hardness and softness and the interlacing of history and nature make the stories of the Qiantang River Poetry Road so compelling.

The unique landscape along the Qiantang River Poetry Road can be an ideal starting point or an ideal ending point： people with high ambitions go out from here to embrace the world; people with noble ideals come to the place as well to become hermits and live a happy and unconstrained life. The trio of Sun Quan and his father Sun Jian （155-191） and brother Sun Ce （175-200） is considered a typical case of the former. They started out in the present-day Longmen Ancient Town in Hangzhou and gradually established a formidable kingdom. In contrast， the story of Yan Ziling， the Han dynasty hermit who chose mountains and rivers over privileges and riches and the very embodiment of moral integrity， is often cited as a prime example of the latter. Indeed， instead of clashing with each other， here， the pursuit of an official career in the government and living as a recluse seem to work in perfect concert， lending a touch of romanticism to the Qiantang River Poetry Road.

The most touching part of the Qiantang River Poetry Road lies perhaps in the hidden heroism. Be it locals who were born and raised in this area or sojourners who happened to stay here temporarily， there is no shortage of heroes who care about this piece of land and work for the wellbeing of the people. Legend has it that Qian Liu （852-932）， the founder of Wuyue Kingdom， was concerned about the rivers bursting dyke and decided to shoot the tide， fighting against a tide that sounded like “hundreds of thousands of soldiers in midnight”. Although the legend cannot be authenticated， it is more than enough to show Qian Lius heroic spirit. At the end of the Southern Song dynasty （1127-1279）， Xie Ao （1249-1295） honored Wen Tianxiang （1236-1283） in tears at the Yan Ziling Angling Platform， writng a “soul-summoning” song for him： “O soul， where art thou travelling in the morning？ Do not come back to the border fortifications at dusk... for there would be no food for thee.” An ardent patriot， Wen valiantly resisted the Mongol invaders， and refused to surrender despite being captured and tortured. Even in his twilight years， Xie was still organizing patriotic poet societies in Jiangsu and Zhejiang. The Qing poet Xu Ye （1611-1683） praised Xie as “l(fā)iving as a displaced believer in Wen Tianxian， and dying as a lonely neighbor of Yan Ziling”. More recently， Yu Dafu， who was born along the banks of the Fuchun River， persisted in his efforts fighting against the Japanese aggressors， but he was eventually murdered by the Japanese on Sumatra Island. His brother Yu Hua was also killed by the Japanese puppets in Shanghai， and his mother starved to death in a cave because she refused Japanese armys food. This dignified heroic spirit spans ancient and modern times， injecting “flesh and blood” into the Qiantang River Poetry Road.