“我們眼里的中國文化,真的很美”

采訪韓國留學生李眩周和鄭善珠，約好見面是一個周六的下午，地點在杭州上城區清波街道文化活動中心，也就是她們這次展覽的舉辦地。先是見到了鄭善珠，眼前的女子面容清秀，舉止文雅，開口就是“你好，你好，我是鄭善珠”。從小接觸書法的鄭善珠從大學就開始學習中國書法。大學畢業后，她如愿來到杭州，并一直在中國美院學習書法專業，現在是博士生在讀。

我們還來不及詳細介紹，就被身邊一位杭州老人打斷了。他拉著我說：“我看了展覽覺得很激動，現在中國年輕人都不寫書法了，可是一個韓國人卻寫出了這么一手好字，我過來好幾次了，就等她們給我簽個名呢。”這位年過七旬的老者此刻活像一個追星的年輕粉絲。接著，他把我們帶到角落的桌子旁，上面放了一張宣紙，宣紙上是他從各種報紙上剪下來的關于她們兩個的報道，就等著她們簽上大名了。一旁的善珠顯得一臉的羞澀，對于突如其來的粉絲，似乎還有點不太適應。

這時候，李眩周也趕到了，還帶來了幾個中國朋友，“這次展覽多虧他們幫著聯系。”在杭州幾年，兩個韓國留學生都結識了不少中國朋友，彼此之間親如兄弟姐妹。趁眩周簽名的間隙，善珠先帶我參觀起了她的書法。這次展覽是她們兩個的合展——善珠的書法，眩周的畫。

“春天的時候我買了一輛自行車，可以去自己想去的地方欣賞風景；夏天的時候我常一個人去西湖邊散步，順便買一杯美味的珍珠奶茶；到了秋天開始準備研究生考試，上午上書法課，下午上漢語課，學習的時候感覺到我越來越聰明；到了冬天有很多商場打折，我平生沒見過這么大的優惠，很幸福。”

這是一段名為《我的杭州留學生活》的日記，善珠用中國的隸書寫了出來。“好多來參觀的人都說很喜歡這個，用的是傳統的表達形式，但是說的是日常的事情。”的確，日記寫得很接地氣，特別受年輕人的喜歡。東漢時，文學家楊雄就說“書，心畫也”，書法其實更傾向于表現主觀精神，古往今來多少文人騷客都喜歡寄情于毫末筆端，將自己的情思傾注于書法藝術之中，這可能也是書法藝術無窮的生命力。

雖然隸書、魏碑、楷書這些書體鄭善珠都會用，但她的最愛還是用漢字象形的特點創作的《木馬》。問及為什么，善珠笑笑說：“因為我有一個兩歲的女兒，我一看到這幅木馬，就會想到我女兒，她很喜歡騎木馬。”原來，這位年輕的留學生已經是兩歲女孩的媽媽。有一次，一名女士帶著三四歲的女兒參觀時就被《木馬》中蘊含的濃濃親情感動。兩位母親相談甚歡，善珠說，她很可能會把這幅作品送給那位母親。為人女、為人妻、為人母也給善珠的創作帶來了不一樣的靈感，接著看到的這幅作品就是很好的證明。作品用韓文寫道：“好媽：我想當好媽，女兒的心情很會捉摸的那樣的好媽我想當；好女兒：我想當好女兒，我父母的心情很會捉摸的那樣的好女兒我想當；好妻：我想當好妻，丈夫的心情很會捉摸的那樣的好妻我想當。”外表時尚靚麗，內心傳統賢惠，這就是站在我面前的韓國女留學生。

參觀到這里，筆者感觸頗深。在世界藝術之林，惟中國書法最能表現東方文明的獨特性，惟中國書法最能表現中國文人的精神世界，惟中國書法最能表現出中國文化的博大精深。但是，時代推進到今天，我們這一代年輕人中已經很少有人再提筆書寫，看著傳統的藝術流于荒蕪，作為文化人，心中戚戚然。可是今天，我們分明看到了書法的另外一面，她是可以繼續發揚光大，可以繼續融入現代生活并且走向更深更廣領域的。善珠將傳統高雅的書法藝術與現實瑣碎細微的日常生活巧妙嫁接，開拓了書法藝術走向現代大眾的新的途徑。任何傳統都是經典，但惟有流動，經典才能永恒，每一種藝術也只有不斷變革和創新才能保持其長久的生命力和活力，而這個啟示來自一位書寫中國字的韓國女留學生。

再來看眩周的畫。眩周目前是浙江大學古典文獻學專業的在讀博士，十足的“中國古典文化粉絲”。為學習國畫，她負笈杭州，并拿到了中國美院國畫系花鳥專業的碩士學位。一看到眩周，她就展開了迷人的微笑，像冬日陽光一樣有著溫暖人心的親切，而更溫暖你的還有她的中國花鳥畫。

走進書畫展廳，大部分人會被一幅名為《花女魚男》的國畫吸引。這幅絹本畫由三部分組成：最上面是一株盛開的木芙蓉，最下面是十幾條游魚在落花飄零的水中悠游。畫面并不復雜，恬淡唯美。《花女魚男》顯示的是中國古典風，畫中間還配有題為《花女魚男，靜陰動陽》的幾行楷書文字：

“深秋游西子湖畔，到石橋見豐滿之芙蓉受陽光。喜心放橋上聞眾人聲，大多女看花嘆出喊喜聲，然男不看花，但見橋下之魚嘆出喜聲。非目看物即心看物。何以為心？是陰陽之調和之造化。”

真是難以想到，這些古樸雅致的原創文字竟然出自一個韓國女孩之手。

眩周說，她平時經常去靈隱、郭莊寫生，但畫得最多的還是西湖。《花女魚男》就是李眩周在西湖邊“樂活”時的閑筆之作。“每天早上去魚水亭看看坐坐。忽然惠施過來問‘你知道魚的心情嗎？’我在想…好像有點明白。但何以純粹地理解對象呢？我在水里受陽光。每次伸手感覺到水面的溫暖。已忘我，忘我在動作。水里還是空中也分不清，只是享受。”這是一段她關于作這幅畫的哲理般的感想，讀來回味無窮。

在展廳里，我們還能看到很多月亮，是的，大部分畫作中眩周都加入了月的元素。一幅畫中她寫到《月見草》：“燈蛾盡飛未達月，風領桂香沈浸岳。五更大明往涯歸，月見草閉眼藏淚。”她說她特別喜歡月見草，一見到月亮就開花，月亮一離開就謝了，像極了自己，那么喜歡月亮。中國有詩：“舉頭望明月，低頭思故鄉。”這也是這位留學生的心情寫照吧，月亮從古至今，從韓國到中國，都是同一輪。

這次展覽取名為“問學杭州”，兩位韓國女生解釋說，這是她們的導師陳振濂教授提議并親筆題字的。其實她們自己的想法挺簡單：“就是想告訴大家，我們眼中的杭州是一座怎樣的城市、我們的留學生活是怎么樣的，在這個美麗的城市，我們學到了什么。”

我作為《文化交流》的特約記者，采訪了這兩位韓國留學生。下面是訪談的一部分記錄，摘錄于此，更能顯示中韓兩國文化的共性與差異，更能表達中外文化交流的必然與必要。

《文化交流》特約記者（以下簡稱記者）：來中國學習有很多城市可以選擇，你們為什么都選擇了杭州？

李：還記得第一次來杭州的情景，那是2005年5月，春夏之交。西湖邊那么美，自然和都市融為一體，感覺都是綠綠的。我看到就決心要留在這里，這么美麗的城市，在韓國只有拍攝《冬季戀歌》外景的春川可以媲美。

鄭：我高中的時候就來過中國，也在北京呆過，后來也去過很多的城市，但是最后選擇了杭州。這里的自然風景與人文環境讓人的心安靜下來，很適合寫生、練字修學。我住在南山路，空閑時可以騎自行車閑逛。這是一座充滿濃郁文化風情的城市。

記者：你們來杭州幾年了，對這里印象最深的是什么？

李：我研究生畢業的時候回過韓國一次，那時候我就特別不適應。杭州的生活很慢，很休閑，很文化，人們臉上的表情也很輕松，充滿幸福感，但我們韓國人的生活太趕了，每天充滿緊張感。

鄭：我覺得杭州人都特別友好，我懷孕的時候房東送了我們一個很大的水果籃。后來回韓國生孩子，一家店老板還專門開車送我到機場，讓我很感動。

記者：作為韓國留學生，中國文化帶給你們怎樣的影響？

李：我在杭州的時候，我的韓國朋友、學妹還有書法家們來，我會陪他們去宋城、靈隱寺、河坊街、西泠印社，陪他們去看張藝謀的印象西湖，我很喜歡中國的古典文化，挺能熏陶人的。我感覺在這里，人和自然、自然與文化能夠很融洽地相處，這個非常難得。

鄭：我覺得中國比韓國重視傳統文化的保護和傳承，我看杭州好多店都用書法寫招牌，很有文化底蘊。韓國更多的是走西方化的道路，年輕人都不愿意傳承本國傳統的東西了，挺可惜的。將來我想把我女兒帶來杭州讀幼兒園，讓她學習中文，在這樣文化的環境里長大，我覺得對她很有幫助。

作為在杭留學的學生代表，兩位韓國姑娘特地合作了一幅字畫贈給中國杭州大學生旅游節。杭州，儼然已經成了這兩個韓國姑娘的第二個故鄉，中國傳統文化的精華已是她們不二的追求。

Two Korean Students Hold Art Exhibition in Hangzhou

By Zhu Fengjuan

Lee Hyunjoo and Jung Sunjoo， two Korean women studying in Hangzhou， held their art exhibition at the Culture Center of Qingbo Street Neighborhood from November 8 to 20， 2011. This event was part of 2011 Hangzhou Art Festival.

I made an appointment with them for an interview on a Saturday afternoon， on November 14. I met Jung first. She said， “Hello， I am Jung Sunjoo” in Chinese. Jung started practicing calligraphy in her early girlhood years and studied Chinese calligraphy in her college years. Now 30 and married with a 20-month baby girl， Jung came to Hangzhou after her graduation from college and started her study of calligraphy at China Academy of Art. She is now taking a doctoral course.

We were interrupted by an old visitor. He took my hand saying he was happy to appreciate the excellent calligraphy by a Korean student. He said disappointedly that nowadays most Chinese youngsters disregarded calligraphy. He said he had visited the exhibition several times in the hope of meeting the two artists and getting autographs from them. He took us to a table in a corner and showed us a rice paper. It is a large piece of one-page clipbook with clippings about the two Korean students from local newspapers. Apparently， Jung Sunjoo was surprised and became a bit embarrassed by the unexpected appearance of such an enthusiast fan.

While we were chatting with the old man， Lee Hyunjoo arrived with a group of her Chinese friends. Lee was immediately surrounded by fans for autographs. Jung took me around to see her calligraphic exhibits. Outstanding among her calligraphic works was a diary entry of her life as student in Hangzhou. Written in clerical script， the entry gave a superb laconic yet heart-touching account of what she did in four seasons of a year. Many visitors expressed their appreciation of the content and form and style of this piece. It touched upon everyday life. A visitor used a local idiom to sum up the piece: it touched the energy of the ground.

Wooden Horse is a calligraphic artwork in the shape of a wooden horse. Jung said her two-year-old toddler enjoyed riding wooden horses. A Chinese young mother with a four-year-old daughter saw the Wooden Horse and immediately took to it. They had a pleasant conversation. Jung said she probably would gave the calligraphic work to the young mother.

Lee Hyunjoo is taking a Ph. D-degree course in ancient philology at Zhejiang University. An aficionado of ancient Chinese classics， she came to Hangzhou and took a master degree of flower-bird painting at the traditional Chinese painting department of China Academy of Art.

Her beaming smile was warmer than the winter sunlight and her paintings were even warmer.

Her painting that caught everyone’s eyes at the exhibition was a color masterpiece entitled “Women are Flowers， Men are Fish.” It was based on an observation during one of her sketching trips around the West Lake， a UNESCO world cultural heritage since June 2011. One autumn day she was sketching at a stone bridge near the West Lake. Sitting near Cottonrose Hibiscus blooming furiously by the bridge， she noticed that girls passing by were all excited at the sight of the spectacular flower scene while young men unanimously chose to watch fish. The inscription in the painting described the experience and philosophized Yin and Yang behind the different choices.

Many of Lee’s paintings are about the moon， highlighting the common element shared by both Chinese culture and Korean culture.

In the interview， the two Korean women explained the title of the exhibition: Exploring and Studying Hangzhou. The idea came from their tutor Chen Zhenlian. The title was inscribed by the professor. The young women’s idea was simple. They wanted to show how Hangzhou looked like in their eyes， how they lived as overseas students in the city and what they learned from the scenic city.

Lee Hyunjoo came to Hangzhou in May 2005， when spring met summer gracefully. She fell in love with the scenic city where nature and the city are one.

Hangzhou was not the first city Jung visited in China. She came to China while she was in senior high school. She stayed in Beijing and visited many other cities across China. Eventually she chose Hangzhou. The scenery and culture of the city oozes serenity， especially suitable for sketching， practicing calligraphy and pursuing education. She now lives on Nanshan Road， a scenic lakeside boulevard with rows of towering sycamores. Whenever possible she bikes around.