藏地复调的协奏、杂奏与变奏——杨志军《雪山大地》诠论

The Concerto,Miscellaneous and Variation of Tibetan Polyphony:On YANG Zhijun’s The Snow Mountain and the Earth

解读杨志军的《雪山大地》,需要与藏地书写的文学大传统参照进行。藏地书写中的信仰特征,经历了政治化—神秘化—欲望化的演变流程,而《雪山大地》中以歌唱和音乐为核心的信仰形式,则是形成于并反哺俗常世界的实在信仰。与藏地书写传统中那种二元对立的极端化、浪漫化叙事模式有别,杨志军在《雪山大地》中开辟出一条以发展为核心诉求且接通城市与藏乡、现代与传统联系的文明之道。《雪山大地》写出了藏地世界的复杂与丰富,充满了多种音调的复合声响。就作品本身来说,它既是一首俗世与信仰的协奏曲,也是传统与现代交织的杂奏曲。相对于整个藏地书写传统而言,提供了多维度、全新笔调的《雪山大地》,又是一首名副其实的变奏曲。在边地关心、思考着时代中心命题的《雪山大地》,挺立着一群大写的“人”的形象,矫正了“叙述精彩,精神低下”的衰颓现状,有力护持了文学的高贵尊严。

The interpretation of YANG Zhijun’s The Snow Mountain and the Earth should refer to the literary tradition of Tibetan writing.The characteristics of faith in Tibetan writing have undergone the evolution process of politicization,mystery and desire,while the form of faith in The Snow Mountain and the Earth,with singing and music as its core,is a real belief formed in and feeding back the secular world.Different from the extreme and romantic narrative mode of binary opposition in Tibetan writing tradition,YANG Zhijun opened up a civilized way in The Snow Mountain and the Earth,which takes development as the core appeal and connects the city with Tibetan countryside,modern and traditional.The Snow Mountain and the Earth describes the complexity and richness of the Tibetan world,full of complicated sounds of various tones.As far as the work itself is concerned,it is not only a concerto of secularity and belief,but also a medley of tradition and modernity.Compared with the whole Tibetan writing tradition,The Snow Mountain and the Earth,which provides a multi-dimensional and brand-new style,is also a veritable variation.The Snow Mountain and the Earth,which cares and thinks about the central proposition of the times,stands up a group of capitalized human images,corrects the declining status quo of wonderful narration and low spirit,and effectively safeguards the noble dignity of literature.