张侯权与西湖老照片

2020-05-15 11:28章咪佳
文化交流 2020年5期
关键词:尼克松西湖杭州

章咪佳

1972年2月26日,正在中国访问的美国总统尼克松一行到了杭州。尼克松总统收到的杭州赠送的礼品中,包括一套名为“西湖”的明信片。这套明信片由浙江人民出版社出版。选作封面的照片名为《西湖晨曦》,由张侯权先生拍摄。

几天前一个偶然的机会,我陪一位敬重的长辈去疗养院探望她的父亲,由此认识了92岁的张侯权老先生。

进门5分钟不到,我就被这位有一肚子故事的老爷爷吸引了。这才知道,张老先生是新中国成立后的第一批摄影师,曾经在浙江越剧团、浙江幻灯制片厂工作。浙江省第一批用作国际文化交流的风光幻灯片,大多是他的摄影作品。

我决定对张老先生作一个专访——把他拍摄老杭州的故事分享给大家。

《西湖晨曦》

饭店穹顶上拍了20分钟

1972年2月26日,正在中国访问的美国总统尼克松一行到了杭州。总统先生收到的杭州赠送的礼品中,包括一套名为“西湖”的明信片。

这套明信片由浙江人民出版社出版。选作封面的照片名为“西湖晨曦”,由张侯权先生拍摄。

1963年,上海人民美术出版社(下文简称“上海人美”)准备出版《西湖》画册,上海人美摄编室副主任尹福康到杭州开始筹备,他住在西湖边的新新饭店。接待尹福康的是浙江省摄影家协会的谭铁民。谭铁民知道在浙江幻灯制片厂工作的张侯权一直在拍西湖风光片,就介绍尹福康和张侯权认识。

“尹福康老师一年间来杭州多次,还经常邀请像卢斯福(香港有名的风光摄影家)等几位老先生来杭州。”张侯权回忆说,他经常与两位老资格的前辈一起工作,向他们学习拍摄。也是在这几次拍摄的过程中,张侯权认识了当时在杭州园林管理局工作的王胜林。

《西湖晨曦》便是由张侯权、尹福康构思,王胜林和浙江人民出版社的摄影师叶赐振几位共同创作的一幅照片。

摄影的时间和地点是张侯权、尹福康选定的,那是1963年深秋至初冬的一个清晨。张侯权有一张从摄影技术书籍上抄来的杭州二十四节气的日出、日落时间表,能准确掌握杭州四季、早晚的色温变化,以及太阳和西湖景点之间的空间关系。

早上5点多,太阳尚未升起。西湖边,四个年轻人兵分两路:叶赐振和王胜林一人掌舵一人摇船,泛舟到了白堤锦带桥北边里西湖的湖面上;同时,张侯权和尹福康一起,登上了新新饭店西楼的楼顶。他们准备合作拍摄一张西湖日出图。

船,是头一天晚上王胜林摇进西湖的,夜里泊在新新饭店门前的小码头。“里西湖原本是不准游船进入的,有了老王协调,我们就可以摇小船进里西湖。画面里有没有这么艘小船,是大不一样的。”

新新饭店这头比较复杂:张侯权爬上了西楼顶上的穹顶后,他先把自己和穹顶上的避雷针绑上。这个穹顶距离地面有五六层楼高。

“取景的时候闭一只眼,人很容易重心不稳。”随身带好几根绳子,是张侯权常年拍外景的标配,麻绳、尼龙绳、棉线绳都有,应对不同的情形。

尹福康站在穹顶底下的平台上,通过吊绳索,把八台照相机一一传给张侯权。“8个照相机,有尹福康的3个,叶赐振的两个,我自己的3个,里面好几个‘135的潘太康和一个‘120的禄莱,镜头都是不能换的。”

8个大家伙上来以后,全部挂在张侯权的脖子上,以便开始拍摄时能一次性操作成功。拍了之后底片由几位摄影师各自归档。当然,为防万一,他把相机也都和立柱绑在了一起。

一切就绪。

“我手一挥,他们(王胜林和叶赐振)开始按照既定路线划船。”那个时候,没有手机,也没有其他即时联络的通讯设备,大家就凭眼力和心里的默契打配合。王胜林他们划完一遍,就再接着划一遍。

6点一过,太阳在锦带桥的位置升起来,“那天云彩也好,这是运气。没有风,水面很安静。”

不过这份美景留给穹顶上的张侯权的时间是非常紧张的,“太阳升得太高,曝光就不好掌握了。色温变了,画面色调就变了。”

在新新饭店的穹顶上,张侯权花了20分钟左右,拍完所有相机里的两百多张胶片。他现在跟我讲的时候,说当时是:“嚓嚓嚓嚓嚓嚓嚓”。

《虹》

一天里意外拍到两条虹

与上海人美尹福康老师等合作,是张侯权风光摄影创作生涯的真正开始。

张侯权有很扎实的绘画功底,在偶然成为摄影师之前,他的志向一直是当一名画家。

“我外公是一位书画家。小的时候,他家和我家是并排的两个四合院。我上学前外公经常过来,起先教我和姐姐描红,后来是临帖。我写字没有姐姐好,但是我很喜欢画画。那个时候也没有大张的纸给小孩子用,就用瓦片在蛎灰地上画,临的是香烟盒子里彩色的香烟牌头,图案有的是《水浒》一百零八将,也有《西游记》里的图案。我就照着这些到处画画,天井里地上画满了,就画到家里的墙上去,弄得一塌糊涂,经常被妈妈教训。”

后来成为职业摄影师,这份长期积累下来的审美感对他摄影创作很有帮助。

另外一方面,风光摄影师是“上知天文,下知地理,运筹帷幄之中”的艺术家。“风光摄影工作在有些时候是需要承担‘说明书的工作的,比如风景名胜、一些景点的介绍,需要非常直观的照片,不强调艺术性。但是不管什么需求,最首要的一条是要脑子里要有一张‘航拍图,要很清楚地知道在什么点位可以拍出什么样的效果。”

文艺界有所谓“采风”一说,对于风光摄影来说,“采风”就是知道“好景”在哪里。从开始拍风光摄影,张侯权就保持着每天早晨4点钟起床,五六点鐘出门的习惯,“那时候身体好,主要是内心有艺术创作的强烈欲望。每天清晨把摄影包绑在自行车后座上,骑着车在风景区转,有目的地一个点一个点跑。”西湖各景点以及周围的小山头,他都走遍了。有的点去的时候是夏天,不适合表现,就会在脑子里存下一个景象,在冬天再去。

1978年夏天的一个清晨,5点左右的样子,张侯权从家里骑脚踏车出门,那天他要去的点是平湖秋月。

但是刚刚骑到西泠桥,天就下起了大雨,张侯权只好到苏小小墓的亭子里躲雨。

雨在西面下了一会,开始往东边去了。张侯权正准备走了,他下意识地扭过头,往西边苏堤的方向看了一眼——跨虹桥上方出现了一道虹。

“虹一般出现在暑天,还需要有三个条件,东边下雨,人在中间,西边出虹。”

张侯权赶忙举起相机,“当时‘135(佳能)的机子里大概就剩下9张片子,赶快全部拍完。”他身边还带了大画幅的“120”(禄莱)机子,但是胶卷还没有换好,虹已经悄然离去了。

“我就继续骑车,往平湖秋月去。”

到平湖秋月的时候,这一片还在下雨,张侯权就躲到西面的走廊。

东边下雨,人在中间,西边出虹,再一次!西边亭子上方出现了一道非常鲜艳的彩虹。张侯权举起在西泠桥装满一整盒胶卷的“135”继续拍虹,也仅仅几秒钟,仍然等不及“120”就绪,平湖秋月上空的虹亦绝尘而去。

“一天里拍到两条虹,我一辈子也就这一次。”张侯权后来特地到苏堤等着下雷雨、拍彩虹,“都不是很理想,天上亮度太大,虹显不太出来。”

《白雪·红伞及其他》

人景完美结合的经典之作

20世纪80年代末期,张侯权的创作主要还是围绕西湖,除了日出日落准确的时间点和空间关系之外,他关注的另一个主要的点就是气候变化,阴晴雨雪,台风、大雾。

对杭州来说,最难得的是一场理想的雪。

“杭州下雪的日子很少,雪的水含量又很高,非常容易融化。常常是雪下了一整天,第二天天亮就开始融化,树上的积雪开始成团下落,到9点来钟,树干上基本已经没有雪了。”

对摄影师来讲,时间非常宝贵。张侯权说需要抢时间还有一个重要因素是人。“因为‘雪西湖很难得,所以总能吸引更多的游人,如果不赶早出发,不仅拍不到理想的积雪,地面的雪也会被游人踩踏,这就失去了雪景特有的洁净又松軟的美感。”

每到下雪天,张侯权一般夜里都会起来几次,“看看雪是不是还在下,积雪的情况是不是理想,决定一早是不是要出发。”

拍“白雪·红伞及其他”那天,早上6点来钟雪还在下,张侯权骑上车出发去了西湖,那天的目的地是苏堤。这个位置在春天就已经记下了的——雪天再来,因为这里有一棵横斜到湖面上去的老杨树,在西湖边已经不多见了。

他从跨虹桥骑下去,在靠西面西里湖的地方停下来。天气很合适,没有开出太阳,雪越下越大,老杨树上的雪积得非常厚,路边人行道也很干净,还没有留下行人的脚印。

天时地利,只差人物。

“我架好了车,取出机子,守在树边。”张侯权开始留意慢慢多起来的过往游人,“一是请他们绕一下道,再是要寻找可以充当‘主角的‘演员。”

请“演员”不是很顺利,“那个年代的人大多比较害羞,前后几拨游人都没有请成功。”

这时候,从苏堤南面走过来一对青年男女,男的穿了海军军大衣,女的穿着浅色的大衣,他们两个家就住在西湖边,一早相约出来看雪景。看见张侯权在拍雪景,他们俩也挺好奇,大家就交谈了起来。

“我拿出红伞,邀请他们出镜。因为不会拍到脸部,他们商量了一下就答应了。”

伞,是张侯权事先准备好的道具。“风光摄影,不过多人为干涉,不摆拍,有时候遇到需要点睛一笔的时候,会用色彩的呼应来解决‘提精神气的问题。我的方法是用‘伞。一般拍西湖都是搭配西湖绸伞。”

但是那天,张侯权拿给男女青年的这把鲜艳的红伞,是一把尼龙伞,是一位朋友从台湾带来的礼物,当时国内还很少有尼龙质地的伞。“下雪天,绸伞容易弄坏。”当时市面上的西湖绸伞是高档消费品,他有位朋友在杭州工艺美术研究所工作,就以内部价帮他买了几把不同色彩的绸伞,用在西湖风光作品中,效果很不错。

拍摄“白雪·红伞及其他”的时候,雪还在下,那个男生打开伞之后等了不一会儿,伞面上就积起薄薄一层雪,画面语言更加丰富了。

“这张作品在当时反响比较大,一是它的摄影语言丰富,手法也比较少见,既是摆拍,又不露摆拍的痕迹,人与景结合得很完美,无论是意境还是画面构图和色彩,都和主题十分协调。”一时之间,索图的纷至沓来,光是张侯权自己收存的印刷品就不下30幅。

(本文配图,为张侯权摄)

亨利·基辛格的《白宫岁月:基辛格回忆录》(上海译文出版社 2016版)里《尼克松的中国之行》的有关章节中,记录了1972年2月26日尼克松访华团的杭州之旅。

基辛格先生对杭州的喜爱,从他的文字可见一斑——“位于长江下游出海口的杭州,确实是中国最美的城市之一。杭州建于罗曼蒂克的湖畔,到处是精致的花园、庙宇和殿堂。气候温和,春来得早。这是一个历史悠久的文化、学术和诗歌的发祥地。13世纪马可·波罗访问杭州的时候,赞美它是‘世界上最伟大的城市,它是这样的美,以致‘人们以为自己置身于天堂之中。黄镇大使(时任中国驻法国大使)在巴黎时曾告诉沃尔特斯将军(时任美国驻法武官),中国有句俗话:上有天堂,下有苏杭。”

基辛格对俗语有深刻的理解,所以当他听到总统先生在游西湖时对周恩来说这里的风景“看起来像是一张明信画片”时,忍不住认为“西湖的诗情画意被冲淡为尼克松式的散文了。”没想到尼克松先生后来真的收到了一套西湖明信片,或许这也让基辛格先生吃了一惊。

Zhang Houquan:  West Lake Photos

By Zhang Mijia

The other day, I went with a friend to visit her father at a hospital for seniors where we ran into Zhang Houquan, a retired photographer at 92. Five minutes in the room and I was fascinated by the photographers stories. It turned out that he was one of the first-generation photographers after the founding of the Peoples Republic of China in 1949. He worked at Zhejiang Yueju Opera Troupe and Zhejiang Slides Studio before his retirement. Many of his photos were used in slides created for the provincial government in international cultural exchange programs.

On February 26, 1972, American President Richard Nixon came to Hangzhou, one of the brief stops he made during his historical visit to China. Among the gifts he received in Hangzhou was a set of picture postcards titled  published by Zhejiang Peoples Press. The envelope of the postcard set presented , a photo taken by Zhang Houquan.

The photo was taken in 1963. That year, Shanghai Peoples Art Publishing House planned to print a photo album about the West Lake. Yin Fukang, an editor of the Shanghai publisher, came to Hangzhou and set things ready for the shooting project. He stayed at Xinxin Hotel on the West Lake. Tan Tiemin, a member of the Zhejiang Photographers Association, introduced Zhang Houquan to Yin. Zhang and Yin planned to take a photo from the top of the west wing of the hotel. They thought it would be a good idea for a boat to appear in the photo. A boat was moored near the hotel at the night before. In the early morning Zhang and Yin got to the dome of the west wing while two young colleagues took care of the boat.

It was a morning half in autumn and half in winter. Zhang and Yin got up early. Zhang began by roping himself to the lightening rod on the dome of the west wing. Then, Yin uplifted eight cameras up one by one to Zhang. Zhang got the cameras and hanged them onto his neck. To avoid dropping the cameras by accident, he also tied the cameras to the lightening rod. Zhang gestured to the two colleagues on the boat far below. They began to row. They followed a planned route to and fro on the lake. Shortly past six oclock in the morning, the sun rose from behind the hills across the lake. There was no wind; the lake was calm; clouds were good, too. Zhang knew he must hurry or light would soon change. It took Zhang about 20 minutes to shoot over 200 photos in the eight cameras. Three cameras were his and one of the photos in his three cameras appeared on the envelope of the postcard set.

When Zhang told me this rooftop adventure, he said all he heard at that time was the rapid clicking sound of the shutters. The vivid clicking sound he can still hear now.

This project in 1963 marked a turning point of Zhangs photographer career. He had learned how to paint when he was a kid. His maternal grandfather was an artist. He aspired to be a professional artist. It was only by chance that he became a photographer. The art essentials he picked up as a boy did help him succeed as a photographer. After the shooting project in 1963, he dedicated himself to photographing the scenic West Lake. In order to take good photographs, he got up at four oclock every morning and left home by 5 oclock and pedaled a bike all the way to the West Lake. He visited all the scenic spots around the lake and on the hills that flank the lake on three sides. He got to learn all about these spots. The thorough field studies enabled him to visualize what would appear in the viewfinder at a specific spot and what he wanted in the viewfinder from there in different seasons.

One summer morning in 1978, he got up early and left home for the lake at five oclock. His destination was Autumnal Moon on the Calm Lake, a platform extending out on the lake, a scenic spot not far from the Solitary Hill. When he reached Xiling Bridge, it rained. He hurried into a pavilion by the bridge to wait out the rain. The rain soon moved eastward. He was about to mount the bike when he glanced casually westward and spotted a rainbow high in the sky above the Rainbow Bridge on the Su Causeway. He immediately trained his Canon camera onto the rainbow and clicked fast to use up all the remaining nine frames. Before he had time to get his Rolleiflex, the rainbow disappeared. Disappointed, Zhang got a new film roll into his Canon and resumed his eastward trip to the platform. He reached the platform and it was raining. So he got under the roof of the west side. Pretty soon, the rain stopped. There appeared a bright rainbow in the sky right above the pavilion about 50 meters away from where he was. This time, he clicked fast. Again, he didnt have time to use Rolleiflex. The rainbow lasted only briefly before it vanished.

“I photographed two different rainbows in one day. This has happened in my lifetime only once,” explains Zhang. He later tried to wait for a rainbow on the Su Causeway many times, but nothing came out of these waits.

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