如果沒有那個(gè)傍晚的偶遇大禮堂的傳奇或許將與我們無緣

◇文|田 東

如果沒有那個(gè)傍晚的偶遇大禮堂的傳奇或許將與我們無緣

◇文|田 東

1951年7月的一天傍晚，時(shí)任西南軍政委員會(huì)辦公廳副主任段云，出現(xiàn)在重慶市馬鞍山對(duì)面的一個(gè)建筑工地上，這是正在興建中的重慶市委機(jī)關(guān)辦公地。一個(gè)三十多歲的工程師，正一面翻著圖紙，一面向身邊的幾個(gè)同事指點(diǎn)設(shè)計(jì)和施工。工程師的熱情，感染到了原本有些悶悶不樂的段云，上前和對(duì)方攀談起來。

這位聽力很差的工程師告訴段云，自己有一個(gè)設(shè)計(jì)方案，是為前陣子一個(gè)在征集設(shè)計(jì)方案的禮堂畫的，結(jié)果沒被看上。言談中不乏遺憾和牢騷。哪知這一下引起了段云的興趣，他告訴這位工程師，晚上把設(shè)計(jì)圖紙帶來瞧瞧。

段云為什么會(huì)對(duì)這個(gè)方案感興趣？

One evening in July, 1951, Duan Yun, Associate Director of the General Office of Southwest Military and Political Committee, appeared at the construction site for the workplace of the Municipal Party Committee of Chongqing, opposite Ma’an Mountain. He was a little upset until so affected by an enthusiastic engineer in his thirties who was leafing through the drawings and directing his colleagues there, that he went to talk with him.

The engineer with bad hearing told Duan Yun gloomily that he had a design proposal for an auditorium, but it was turned down. Surprisingly, Duan Yun showed interest in and asked to have a look at it.

Why was that?

此時(shí)的段云，除了西南軍政委員會(huì)辦公廳副主任的職務(wù)，還有一個(gè)身份：擬建設(shè)的西南軍政委員會(huì)大禮堂設(shè)計(jì)方案征集工作負(fù)責(zé)人。遇到這個(gè)工程師前約10多天，剛剛初選了方案，可結(jié)果讓段云很沮喪——沒有一個(gè)看得上眼的。

晚上，這位工程師和他的夫人，帶著一幅1.63米高、3.91米長的巨幅彩繪圖來到段云面前。畫卷徐徐展開，段云愣住了。細(xì)細(xì)端詳一陣后，他大聲說著“好圖啊，好方案，難得的好方案”。

隨后，段云將此方案向西南軍政委員會(huì)副主任賀龍等作了匯報(bào)。當(dāng)晚，鄧小平、賀龍等就接見了這個(gè)年輕人。

再接下來的一切順理成章。三年多后的一九五四年，一座氣勢恢宏的建筑聳立在馬鞍山上，這就是如今重慶市民熟悉的重慶市人民大禮堂。那位聽力很不好的工程師，名叫張家德。

At that time, Duan Yun was not only the Associate Director of the General Office of Southwest Military and Political Committee, but also in charge of collecting the design proposals for the proposed auditorium of the Southwest Military and Political Committee. About 10 days earlier, before he met the engineer, he was very disappointed, for none of the designs was satisfying.

It was when the engineer and his wife showed a huge colored drawing with 1.63 meters high and 3.91 meters long in front of him that he was astonished. Looking at it closely for a while, Duan Yun said excitedly, “Excellent! It’s so incredible.”

Later, Duan Yun reported this proposal to He Long, another associate directors of Southwest Military and Political Committee. On the same night, Deng Xiaoping and He Long received this young man.

Three years later, in 1954, a grand building towered on Ma’an Mountain, which is exactly the household name, People’s Great Hall of Chongqing. And the engineer is Zhang Jiade.

如今，這個(gè)故事出現(xiàn)在重慶大學(xué)出版社的《重慶市人民大禮堂甲子紀(jì)》一書中。我一直認(rèn)為，在書中關(guān)于大禮堂60多年風(fēng)風(fēng)雨雨的眾多故事中，這個(gè)故事是最神奇的。就像悉尼歌劇院的設(shè)計(jì)方案是從字紙簍里撿出來的一樣，重慶市人民大禮堂這座中國現(xiàn)代難得的優(yōu)秀建筑，在最初的設(shè)計(jì)階段，險(xiǎn)些與我們擦肩而過。

讓段云有些疑惑的是，這么好的方案，在之前的方案展示遴選中，自己怎么沒有印象呢？其實(shí)，張家德也參加了6月的那次方案評(píng)選，且方案一掛上墻就引來了圍觀者的驚嘆。可當(dāng)時(shí)的初評(píng)者認(rèn)為，這樣一個(gè)方案美則美矣，卻不現(xiàn)實(shí)，依照當(dāng)時(shí)的建筑技術(shù)，單是那座大跨度的禮堂屋頂，就無法實(shí)現(xiàn)。于是，在段云等人來審看方案前，工作人員就把張家德的方案給撤下了。

60多年后的今天，當(dāng)我們回過頭去看，段云那次傍晚到馬鞍山的散步，就仿佛帶上點(diǎn)命中注定的味道了。無法想象，如果沒有那次偶遇，沒有段云的敬業(yè)和敏感，我們還有沒有機(jī)會(huì)看到這座美麗的建筑。就像某些人和事，看似不可阻擋，事成必然，其實(shí)大風(fēng)起于青萍之末，有時(shí)候一個(gè)不經(jīng)意的決定，一次純屬偶然的外出，就已經(jīng)改變了那風(fēng)的方向和強(qiáng)度。

恰如《重慶市人民大禮堂甲子紀(jì)》前言所述，本書從大禮堂的誕生過程、藝術(shù)價(jià)值、技術(shù)成就、歷史記憶和文化內(nèi)涵以及建成后的歷次維護(hù)與建設(shè)逐一回顧，全景式地向我們展示了這座建成后就被譽(yù)為“亞洲第一大建筑”的宏偉建筑。一段段飽含滄桑的歷史，將引領(lǐng)你走進(jìn)大禮堂的豐富的物質(zhì)和精神世界。一張張精美的圖片，一篇篇珍貴的文字和數(shù)據(jù)就如一朵朵美麗的浪花。

隨意擷取幾朵，先睹為快吧。

This story now has been recorded on the book Sixty Years History of the People’s Great Hall of Chongqing, published by Chongqing University Press. I always regard it is the most miraculous one among the plenty stories on the trials and hardships of the Great Hall. Because, similar to the tale that the designing of Sydney Opera House was picked from a wastebasket, we barely missed the People’s Great Hall of Chongqing, an outstanding Chinese modern architecture.

Duan Yun was puzzled why this wonderful proposal left little impression on him at begnning. It turned out Zhang Jiade's proposal was part of the selection held in June, which was astonishing to the onlookers. However, judges did not think his design was practical according to the techniques at that time. For example, the wide span of the roof could not even be realized. That is why his proposal was removed before Duan could see it.

In retrospection, it is more of a destiny that over 60 years ago Duan Yun walked on Ma’an Mountain at that dusk. Unimaginably,without this unexpectedencounter and Duan Yun’s devotion and sensitivity, we might have no chance to see this beautiful architecture. It proves that although someone or something seems irresistible and inevitable, changes still happen.

Just as the Preface of Sixty Years History of the People’s Great Hall of Chongqing stated, this book successively reviews the emergence, artistic values, technical achievements, historical memories, and cultural connotations of the Great Hall and its maintenance and construction after completion so as to show us a panoramic view of this grand architecture which was honored as “the First Architecture in Asia”.

Let’s pick up some optionally and feel the beauty.

比如大禮堂的緣起。的確如“傳說”中說的那樣，1950年，劉伯承、鄧小平、賀龍等就籌劃修建一座可供當(dāng)時(shí)的西南行署四省一市各族各界人士舉行“共商國是”的大型會(huì)議、可供群眾觀看文藝演出的大禮堂。鄧小平還特別強(qiáng)調(diào)，古代皇帝的宮殿講究“非令壯麗無意重威”，這座新中國的人民的大禮堂，一定要雄偉壯觀以“重”人民當(dāng)家作主之“威”。

再比如，修大禮堂花了多少錢？那個(gè)“無底洞”的傳聞，真相又是怎樣的？

你可能會(huì)驚訝，大禮堂建設(shè)之初的撥款是200億元，最終的費(fèi)用還不止。可是別急，大禮堂修建時(shí)是1951年，那時(shí)的200億元，約合1955年3月后流通的新人民幣200萬元左右。最終，不含其它固定資產(chǎn)購置費(fèi)用，大禮堂建筑開支437萬余元，平均每平方米175元。

這個(gè)數(shù)字不僅在如今看來價(jià)廉物美千值萬值，就是和當(dāng)時(shí)的國內(nèi)同期同類工程比，也低了35%以上。

其實(shí)，大禮堂在建設(shè)之初就十分注意節(jié)約。因?yàn)榻?jīng)費(fèi)問題，大禮堂原本規(guī)劃的升降舞臺(tái)被取消。設(shè)計(jì)師張家德修改了外部設(shè)計(jì)方案，力求在獲得原有設(shè)計(jì)效果的同時(shí)節(jié)省費(fèi)用。一些材料的使用也是各出奇招，比如大禮堂屋面的琉璃瓦，由外購改為在江津珞璜燒制，圍繞大禮堂一圈的望柱欄桿，原本該用漢白玉，后來采用欄桿本體用混凝土澆筑，表面用從各處搜集的碎盤碎碗，研磨成粉，加上白瓷粉、白水泥調(diào)制后涂刷，干后的質(zhì)感，與漢白玉也差不多。

大禮堂的名字也是一波三折。1953年2月10日，建設(shè)之中的建筑工人合影照片上，印的是“西南軍政委員會(huì)大會(huì)堂”字樣，三個(gè)月后的再次合影，題字已經(jīng)變成了“西南行政委員會(huì)大會(huì)堂”。落成之初，大禮堂牌樓上是賀龍手書的“西南行政委員會(huì)大禮堂”，可很快，隨著西南大區(qū)的撤銷，重慶劃歸四川管轄，那行題字變成了現(xiàn)在大家熟悉的“重慶市人民大禮堂”。

For instance, the reason for constructing the Great Hall is truly the same as it was stated in the “l(fā)egend”. In 1950, Liu Bocheng, Deng Xiaoping and He Long etc. were planning to build an auditorium to hold large conferences and to offer theatrical performances. Deng Xiaoping also stressed that the great hall in new China must be grand and magnificent to show the stateliness of people as the masters of their own affairs.

In addition, how much did the construction cost? What is the truth of the hearsay about “the bottomless pit that can never be filled”?

You might be surprised that the allocated fund for the Great Hall at the beginning was 20 billion Yuan, and the real cost was far beyond this. But remember that it was built in 1951 when 20 billion Yuan equaled 2 million new RMB in March, 1955. Finally, excluding other purchase expenses on fixed assets, the constructional expenses was about 4.37 million Yuan, 175 Yuan for per square meter.

It does not only seem like a bargain now, but also cost more than 35% lower than other projects of the same time and the same kind in China.

In fact, much attention was paid to economy since its construction. The originally planned elevator-stage in the Great Hall was canceled, and the exterior design was revised. Also the use of some materials is full of tricks. The handrails and the backbones for the handrails were made of concrete pouring rather than the white marbles.

Even the naming of the Great Hall was full oftwists and turns. On February 10th, 1953, the photos of the workers were printed with “Great Hall of Southwest Military and Political Committee”. However, the words on the photos which were taken three months later were “Great Hall of Southwest Administrative Committee”. At its completion, He Long wrote “Great Hall of Southwest Administrative Committee” on the decorated archway of the Great Hall. Soon after, with the canceling of the southwest district, Chongqing was under the administration of Sichuan, and the inscription was changed into“the People’s Great Hall of Chongqing” which is familiar to many people.

如今，在大禮堂參觀的游客，在人民廣場健身休閑的市民們，也許不知道，大禮堂也曾經(jīng)如被歲月摧殘的美人憔悴不堪。書里對(duì)當(dāng)時(shí)的境況是這樣描寫的：“20世紀(jì)90年代的大禮堂，歷經(jīng)烈日、酸雨、煙熏、潮氣、硝蝕、白蟻、風(fēng)化的摧殘，加上十年浩劫期間人為破壞，大禮堂里里外外的損壞相當(dāng)嚴(yán)重。一圈樣式陳舊的圍墻，將它與世隔絕。透過鏤空的墻縫，可見院內(nèi)雜樹叢生，陋房亂建，牌樓前門禁森嚴(yán)，市民不得擅自入內(nèi)。而封閉的大院里駐扎了八個(gè)單位，分屬三個(gè)系統(tǒng)。院內(nèi)的好地盤、實(shí)用房均被分割占據(jù)，剩下偌大的主樓沒人要，長久閑置在那里。大廳里人氣稀少，舞臺(tái)上蛛網(wǎng)密而光線暗，灰塵厚集，落寞破敗，主樓一側(cè)的鍋爐房終日噴吐黑煙，含二氧化硫的煙塵使昔日美麗的雕梁畫棟密布黃斑；鼓風(fēng)機(jī)開動(dòng)時(shí)，整個(gè)大廳都發(fā)出隆隆的震動(dòng)聲；廳內(nèi)天花板垮塌，座椅殘缺，彩畫斑駁，廁所堵塞，電線老化，鋁芯裸露，白蟻肆虐，老鼠橫行，觸目驚心……”

1991年，大禮堂管理處成立，大禮堂迎來了新生。1991年5月20日，大禮堂正式開放供公眾參觀。當(dāng)年參觀人數(shù)達(dá)到3萬人，超過當(dāng)時(shí)的大足石刻。1997年5月25日，大禮堂撤圍墻建廣場，對(duì)市民全面開放。如今，大禮堂已經(jīng)是重慶具有代表意義的地標(biāo)性建筑，著名旅游景點(diǎn)，國家重點(diǎn)文物保護(hù)單位。而2006年的那次落架大修，也讓大禮堂煥發(fā)了青春。

雖然由于城市的發(fā)展，重慶鱗次櫛比的摩天高樓讓我們不能像幾十年前那樣，站在大禮堂上就能遠(yuǎn)眺嘉陵江長江兩江交匯，但是，站在三峽博物館平臺(tái)之上，極目遠(yuǎn)眺，落日的余暉斜照在禮堂頂端的金色寶頂上，宮殿巍巍，樓臺(tái)參差，中國傳統(tǒng)建筑民族形式的典雅華美之感油然而生，莊嚴(yán)宏大的氣勢撲面而來。

翻動(dòng)這部書，目光從書中那些精美的圖片上流過的時(shí)候，筆者的心情起伏難平。這部書對(duì)大禮堂60年的甲子風(fēng)云做了一個(gè)回顧。而13年前的2004年，筆者就和大禮堂進(jìn)行了一次親密接觸。

也許，因了13年前的這一次機(jī)緣，有了下面這些跟親歷關(guān)聯(lián)的文字。

People might not know that the Great Hall once was in a hard time. “In 1990s, the Great Hall suffered multiple damages from sunshine, acid rain, smoke, humidity, nitrate erosion, termites and weathering together with the man-made damages during the Ten Years Catastrophe, so its internal and external damages were quite serious......There were few people in the hall, and the dim stage was covered thick spider webs and dusts. A desolated and dilapidated view haunted over. The boiler house beside the main building spouted out black smokes all day long......The ceiling of the hall collapsed......”

In 1991, the Great Hall embraced its rebirth. On May 20th, it was officially opened to the public, with 30 thousand attendance, more than the visitors to Dazu Stone Carvings. On May 25th, 1997, the surrounding walls were removed, and a square was built. Now, the Great Hall has become a landmark of Chongqing and the National Key Historical Relics Preservation Unit.

Although skyscrapers at present blocked our view from the Great Hall to overlook the junction of Yangtze River and Jialing River, we can still enjoy the sunset glows shedding over the golden dome of it when standing on the platform of the Three Gorges Museum, appreciate the elegance and magnificence of this classic Chinese traditional architecture, and experience the majestic and grand vigor come out ofit.

When looking at the exquisite pictures on this book, I was very excited, for it reminds me of an encounter with the Great Hall 13 years ago.

Consequently, I had another incredible story related to that experience.

13年前4月的一天，在大禮堂采訪一個(gè)演出時(shí)，無意中聽管理處辦公室的黃敏女士說起，大禮堂馬上就要50周年了。這無疑是一個(gè)極好的新聞?lì)}材。經(jīng)過一周多的采訪，筆者供職的報(bào)社推出了三個(gè)整版的大禮堂50周歲報(bào)道，引起了市民熱議。幾天后，市文物局原副總工程師，現(xiàn)重慶市歷史文化名城專委會(huì)秘書長吳濤先生打來電話，稱他的父親也曾經(jīng)為大禮堂的建造出過力。于是，筆者和同事連夜趕到原重慶建筑大學(xué)，找到了吳濤的父親，著名建筑專家吳惠弼先生。當(dāng)時(shí)吳老已經(jīng)是耄耋之年，但精神尚好。他語氣緩慢但清晰地向我們這些后生小子，回憶起當(dāng)年張家德帶著他的助手登門拜訪，求教關(guān)于大禮堂穹頂那巨大的鋼結(jié)構(gòu)空間網(wǎng)架的技術(shù)問題的情景。

按張家德的設(shè)計(jì)，這個(gè)網(wǎng)架的直徑要達(dá)到46.33米，是半球形無柱空間網(wǎng)架。按最初的計(jì)算，需要采用大規(guī)格的角鋼，可這種鋼材短時(shí)間內(nèi)無法從外地購進(jìn)，而且無法做到與民族形式建筑造型和室內(nèi)空間的完美結(jié)合。

心有不甘的張家德在吳老先生及其他專家的幫助下，在60多年前采用重慶當(dāng)時(shí)的2.5英寸等邊小角鋼成功鉚接。吳老透露，當(dāng)時(shí)在大禮堂施工現(xiàn)場給張家德做助手的黎紹懷和黃智民，就是他的學(xué)生。

筆者一邊聆聽吳老講述，一邊想，那是一個(gè)怎樣火熱的年代，那又是怎樣一群火熱的人？

如今，大禮堂已入花甲，可依然那么青春逼人。這座禮堂，已經(jīng)成為了這座城市的一個(gè)符號(hào)。“我們塑造了建筑，而建筑反過來也影響了我們。”對(duì)一座影響我們的建筑，只有了解得更多、更細(xì)，我們才能更好地去走近它，和它對(duì)話交流。而這本《重慶市人民大禮堂甲子紀(jì)》，無疑為我們搭起了一座橋梁。

One day in April, 13 years ago, I heard from Ms. Huang Min, who worked in the Management Department, that the 50th anniversary of the Great Hall was coming. After an interview for more than a week, the newspaper I worked for published three pages to report the anniversary and caused a heated discussion. Several days later, Mr. Wu Tao, the former Vice General-Engineer of Chongqing Bureau of Cultural Relics and the current Secretary-General of the Special Committee of Chongqing Famous Historical and Cultural Cities, told us his father once attributed to the construction of the Great Hall. His father, Mr. Wu Huibi, a famous architecture expert was in his eighties and in good spirits. He recalled the scene when that Zhang Jiade and his assistants visited him for the technical problems concerning the huge steel space truss structure on the dome of the Great Hall.

According to the design of Zhang Jiade, the space truss structure was a hemispheric space truss structure with no column, and its diameter must be 46.33 meters, which means large-sized angle steel must be adopted, but was not available within a short time, and could not ensure a perfect match to the ethical-styled designing.

With the help of Mr. Wu Huibi and other experts, Zhang Jiade had to adopt the 2.5 inches equilateral angle steel and riveted successfully. Mr. Wu Huibi said that Li Shaohuai and Huang Zhimin who were the assistants of Zhang Jiade on the construction site of the Great Hall were his students.

What a fervent time! What a group of enthusiastic people!

Now, the Great Hall, even in its sixties, is still youthful. It has become a symbol of the city. “We mold the architecture, and in turn the it molds us.”We have to see more details, so as to get closer to communicate with it. Undoubtedly, Sixty Years History of the People’s Great Hall of Chongqing is a bridge.

《人情之美》丘彥明 著中信出版社 出版

《親愛的普魯斯特今夜將要離開》亨利·拉西莫夫 著陸茉妍 余小山 譯四川文藝出版社 出版

《想I：賈樟柯電影手記1996-2008》賈樟柯 著 萬佳歡 編臺(tái)海出版社 出版

丘彥明是上世紀(jì)八十年代臺(tái)灣文學(xué)黃金時(shí)代的見證人。從1979年到1988年，丘彥明當(dāng)了近十年的副刊編輯，從《聯(lián)合報(bào)》副刊痖弦的得力助手，到后來接任《聯(lián)合文學(xué)》總編輯。因工作需要，她得以與當(dāng)時(shí)文壇最矚目的作家頻繁接觸，梁實(shí)秋、張愛玲、白先勇、西西、三毛……這些熟悉的名字都是她的約稿對(duì)象。這本《人情之美》即是丘彥明與12位作家的交往與紀(jì)念，其中有訪問稿、有日記、有信箋，還有追憶，因?yàn)橛小扒椤保浴懊馈钡谜媲袆?dòng)人。書中亦附有張愛玲、三毛等多位作家寫給丘彥明的信件手跡與照片，讓人們得以再次重溫臺(tái)灣文學(xué)那段蓬勃又美好的時(shí)代。

本書講述了普魯斯特逝前最后的時(shí)光，死亡正步步緊逼，而他作為一名偉大的作家，心心念念的仍舊是他的作品。在他看來，《追憶似水年華》永遠(yuǎn)不會(huì)完結(jié)，它是一部在不斷發(fā)展著的作品，是一條饑渴的幼蟲，不斷啃食普魯斯特的血肉與靈魂。但是，于普魯斯特而言，唯有寫完《追憶似水年華》的最后一個(gè)字，他才敢放下對(duì)這世間的所有羈絆，他才能了無牽掛地死去。此刻，本書打破了傳記文體本身的藩籬，作者亨利·拉西莫夫聚焦于普魯斯特的晚年，用清晰而從容、嚴(yán)肅而詼諧的筆觸描繪了偉大的作家如何以寫作來反抗死亡，以及如何與即將到來的死亡相處。

本書稿是著名電影導(dǎo)演賈樟柯第一部回顧其電影創(chuàng)作和思路歷程的著作，也是他對(duì)自己1996年到2008年這十余年來導(dǎo)演生涯的梳理與總結(jié)，全景記錄了他思考和活動(dòng)的蹤跡。書中收錄了賈樟柯導(dǎo)演生涯各時(shí)期對(duì)電影藝術(shù)孜孜不倦的探索和獨(dú)特的思考，另有多篇與電影界、藝術(shù)界、媒體等多領(lǐng)域關(guān)鍵人物的代表性訪談。全書以賈樟柯所拍電影為綱，所有收錄文章以發(fā)表的時(shí)間順序排列，呈現(xiàn)出導(dǎo)演個(gè)人敏感而執(zhí)著的心路歷程，也體現(xiàn)出賈樟柯以電影抒寫鄉(xiāng)愁的深切情懷。本書是2009年后時(shí)隔8年的再版，封面換成了“郵政綠”皮。而今年下半年，2008—2016年的電影新手記《賈想2》也將出版。

編輯/陳科龍

The Very Encounter on That Evening Created the Legend of the Great Hall

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