美的極致是安詳。冬天,走在日本的街道上,所感到的是它骨子里的靜。透過車窗打量這座城市。滿眼都是矮矮的房子,狹窄悠長的小巷,小巷的路標(biāo)一律是木制的,各家小屋屋頂上支著簡易的電視天線,屋前都有木牌。
　　京都,是日本靜謐、古老的縮影,是日本人心靈的故鄉(xiāng)。去的時候正趕上它的初雪,城市驟然安靜。天是清亮亮的,空氣里有絲絲縷縷的雪香,干凈而又遠(yuǎn)離喧囂。矮矮的屋頂,殘紅未褪的柿子樹和楓樹上都鋪了厚厚一層雪,像一幅東山魁夷的山水畫,簡潔而靜穆。沿途有神社、佛閣、宮殿等建筑不停地一閃而過,或絢爛,或素樸,或靜默,如同一曲緩緩流淌的日本音樂。這是一種既古老又新鮮的感覺,既陳舊又緩慢,卻帶著堅定的不容置疑的熱情。
　　冬天的日本,隨處都可以看到古老的店鋪門口懸掛著一個長而厚實的布簾�！芭�簾”一詞,大約是室町初期從中國傳來,據(jù)說源于佛教。在日本,暖簾對消費者來說,是一個商店的標(biāo)記;對經(jīng)營者來說,是一個商店的信譽,比生命和財產(chǎn)還寶貴,而且,繼承暖簾比血緣更為重要。一般為長子繼承,代代世襲。如果長男不能勝任,就會改由其他親屬接替,或者由上門女婿以及選拔公司里的優(yōu)秀人才繼承,讓事業(yè)持續(xù)發(fā)展下去。
　　
　　暖簾的顏色很有意思。藏青色具有殺菌和防蟲的作用,是吳服商和造酒廠商們的愛用色;白色為糖的象征,頗受點心店和藥店的老板青睞,其它還有甜品店以豆沙色居多、茶葉商以綠色居多、酒吧和劇院多用紅色或紫色。
　　日本另一古老而迷人的是歌舞伎。雪白面孔、臥蠶眉、櫻桃小口、古典盤頭、精致發(fā)簪、昂貴和服是她們傳統(tǒng)的扮相。舞女,也稱舞妓。是以輕歌曼舞娛樂觀客的傳統(tǒng)演藝群體。身著傳統(tǒng)日本和服,腳穿高跟木屐,臉和脖頸都以白粉厚抹。與之相映的是京都藝妓,她們都是日本文化中亮麗明艷的人文奇景異觀。只不過,舞女和藝伎有很大區(qū)別。二戰(zhàn)前,很多家境貧困的女孩,從5歲或10歲開始從師學(xué)藝,12歲或15歲左右出師為舞女,然后再邊演邊學(xué)藝,學(xué)日本傳統(tǒng)舞蹈、三弦琴、方言,到20歲時轉(zhuǎn)為藝伎。戰(zhàn)后,因為兒童保護(hù)法的實施,規(guī)定中學(xué)畢業(yè)后才可行舞為藝。
　　
　　
　　晚上,走在花街的青石板路上,或許會與舞女有擦肩而過的緣遇。舞女的厚厚粉白妝,是與深夜的漆黑色相對應(yīng)的絕美,是黑白分明的古來東洋美感。舊時的舞妓是夜間出沒的妖艷。白天學(xué)藝修行,晚上行藝賣笑。茶屋外,是深寂黑色的夜;屋內(nèi)是厚白的粉妝、華麗的和服、嬌艷的頭飾、舒緩的舞姿;燈火下,是夢幻般的凄美。
　　舞女的禮節(jié)似乎更為嚴(yán)苛。與她們擦肩而過,她們對你深深一躬和輕輕一語相問禮,修長細(xì)膩的脖頸完美地微垂。
　　日本的女子“抗凍”。擦肩而過的女學(xué)生,都是穿著制服短裙,僅僅過膝,腳下穿著單層的皮鞋,襪子只到小腿肚。問日本的朋友,日本女孩不怕冷嗎?朋友笑了,怎么會不怕冷,日本的女孩子們其實會拼命努力御寒,肚子纏上腹帶,袖子里藏著幾個袖珍的暖寶寶,包里背著一條小毛毯,到了教室就蓋在腿上。公立學(xué)校比較自由,所以很多學(xué)生都穿運動褲。冷得實在受不了了,就在裙子下再套一條運動褲,不過出了校門依舊是一條裙子。
　　在寒冷冬日,一杯暖茶無疑是最大的誘惑。我進(jìn)的茶庵房間面積約莫八鋪席,有兩個著整潔素雅和服的女人接待我們。年輕的那個貌似是徒弟,跪在陷進(jìn)鋪席的茶爐邊熬茶。年長的像是師父,正在給我們講解。說的全是日語。我聽不懂,便不著痕跡地打量著這個廣間。中間設(shè)有陶制炭爐和茶釜,爐前擺放著茶碗和各種用具,周圍是主、賓席位。我右手邊的最頭上是由一個小柵欄圍起的貴賓席,四壁都掛著典雅的浮世繪。在點茶的茶師,嚴(yán)格地按照程序操作。她那純樸的點茶做派,看不出絲毫毛病。從胸部到膝部的姿勢都非常正確,可以領(lǐng)略到她的高雅氣度。正值黃昏,樹葉的影子投在小姐身后的糊紙拉門上,使人感到她那艷麗的長袖和服的肩部和袖兜隱約反射出柔光。在這寒冷的冬天,化作熱茶邊一縷氤氳的熱氣。老茶師打開膝邊精致的盒子,是一盒茶點。茶點的樣子靈巧可愛,顏色也極為豐富。老茶師把茶點盛在碟里分給我們,到我的時候她特地用中文說:吃點茶點,不會醉茶。
　　茶點好了,茶師將青黃相揉的抹茶盛在一個淡粉色茶碗里,最邊上客人須恭敬地雙手接茶,先致謝,爾后三轉(zhuǎn)茶碗,輕品,慢飲,再傳給下一個客人。朋友告訴我這叫輪飲。
　　出了茶庵,不禁感嘆,日本就像一杯抹茶,初嘗時清香靜謐,而后漸漸香醇,不留意間,已讓人深深陷了進(jìn)去。
　　
　　The superlative beauty is composure. When walking on the streets of Japan in winter, you can feel its intrinsic quietness. Watching the city through car window, the low houses as well as narrrow and long alleys will jump into our sight. The alleys’ guideposts are wooden. On the roof of each house is equipped with the simple television aerial. And the wooden board is placed before every house.
　　I happened to go through its first snow the moment I arrived in Kyoto. Everything becomes suddenly quiet. The sky is clear and bright, floating with snow flavor, clean and far away from noise. A thick layer of snow is carpeted on the roof of each house, on the persimmon and maple trees with remnant red leaves, just like a landscape painting of Kaii Higashiyama: concise and serene. There are splendid, or simple or silent shrine, Buddhist temple and palace flashing by incessantly, which is like a piece of slowly flowing Japanese music. This is an old and fresh feeling. Kyoto is incredibly old. Though old-fashioned and slow, it has firm and undoubtable enthusiasm. Kyoto is an epitome of Japanese quietness and antiquity as well as the soul for the Japanese with sedimentary accretion of 1200 years.
　　In winter, you can see long and thick door curtain made of cloth hanging in front of old stores all over Japan. “Quilted door curtain” was introduced from China in early period of Muromachi. It is said to come from Buddhism. In Japan, quilted door curtain is the store mark for consumer and store credit for operator, more valuable than life and property. Besides, it is more important to inherit quilted door curtain than blood relationship. Quilted door curtain is generally inherited by the eldest son and passed on from one generation to another. If the eldest son is not competent, other relatives will replace him, or the visit son-in-law and elected elitist from the company will inherit quilted door curtain to continue the development of enterprise.

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