文/楊立志（湖北汽車工業(yè)學院教授、湖北省高校人文社科重點研究基地武當文化研究與傳播中心主任、華中師范大學博士生導師、湖北大學客座教授）

自1996年以來，我參與了中央電視臺3部有關武當文化專題片的策劃、撰稿和學術指導等工作，并作為嘉賓出鏡解說武當山歷史文化。這3部專題片是央視國際1998年2月播出的《武當山》（2集）、央視國際2004年03月播出的《走遍中國·十堰》（7集）和央視科教2009年1月播出的大型人文紀錄片《問道武當》（9集）。

通過與以前拍攝的專題片的比較，我認為16集大型紀錄片《武當文脈》采用了非遺傳承人和武當文化學者口述歷史的形式，全景式地展示了武當山歷史文化研究和武當山非遺傳承人的真實面貌，較全面地呈現(xiàn)了當下武當文化研究和非物質文化遺產傳承的情況，具有突出的史料價值和人類學意義。《武當文脈》有幾個特點值得肯定。

一是更加關注武當山非遺傳人和文化學者的事跡。如果說以前的專題片主要關注自然景觀、古建筑、文物等物質財富的話，那么《武當文脈》則是關注投身于武當文化傳承發(fā)展的人物活動，呈現(xiàn)武當山非遺傳承人和文化研究者的精神面貌和生活方式。古人說“人能弘道，非道弘人”。作為個體的“傳承人”雖然普普通通，但他們數(shù)十年或十多年專注于武當文化研究、文物保護、方志編纂、武術演練和傳承、道樂研究教學、民歌教學等“行道”活動，使中華優(yōu)秀傳統(tǒng)文化活了起來。通過這些人物講述的生動故事，點燃觀眾對自然環(huán)境和傳統(tǒng)文化的熱愛，引起對自由和諧、誠信向善等核心價值理念的共鳴，讓現(xiàn)代都市人更加喜愛祖國的優(yōu)美山川和中華傳統(tǒng)文化。

二是努力實現(xiàn)中華傳統(tǒng)文化創(chuàng)造性轉化、創(chuàng)新性發(fā)展有益嘗試。作為中華傳統(tǒng)文化重要組成部分的武當文化，其核心價值理念需要重新總結凝煉，并作出符合時代價值要求的闡釋。如武當文化中“保合太和”“萬國咸寧”的核心要義有助于現(xiàn)代各國文化交流互鑒，共同推進人類命運共同體的構建。武當山古建筑群是世界文化遺產，武當文化具有全球影響力，深入挖掘道教思想寶庫中的和諧觀念、包容精神，對建立不同民族、不同國家、不同宗教間的和諧關系，對形成共建共享的人類命運共同體、促進世界和平、增進人類福祉有重要現(xiàn)實意義。又如武當文化有些內容表達手段比較陳舊，需要通過創(chuàng)造性轉化、創(chuàng)新性發(fā)展促使它與現(xiàn)代社會結合。如燒香、供茶、練太極內功等過去是宮觀道士的活動，現(xiàn)在通過改造創(chuàng)新，以新的形式融入普通百姓日常生活、滋養(yǎng)當代心靈，有利于促進現(xiàn)代社會文化的發(fā)展與需求。

三是更加關注生態(tài)文明思想的普及，引導民眾養(yǎng)成敬畏生態(tài)，熱愛生命的良好習慣?！丁傍B叔”劉洪軍》一集，從劉洪軍老師業(yè)余觀察鳥類活動，到教育學生愛鳥、護鳥，幫助學生養(yǎng)成尊重自然、順應自然、保護自然的良好習慣。這既是武當文化道教“曲成萬物”“常善救物”“助天生物”的生態(tài)保護意識的傳承，也是道教文化不棄物，不害物，積極主動地去救物，去“助天生物”思想的發(fā)展。習近平總書記多次談到要處理好人與自然的關系：“人與自然共生共存，傷害自然最終將傷及人類?？諝?、水、土壤、藍天等自然資源用之不覺、失之難續(xù)。工業(yè)化創(chuàng)造了前所未有的物質財富，也產生了難以彌補的生態(tài)創(chuàng)傷。我們不能吃祖宗飯、斷子孫路，用破壞性方式搞發(fā)展。綠水青山就是金山銀山。我們應該遵循天人合一、道法自然的理念,尋求永續(xù)發(fā)展之路。”《武當文脈》關注這樣的人物，提倡敬畏生態(tài)、保護自然的意識，有助現(xiàn)代生態(tài)文明思想的普及，有助于南水北調中線水源區(qū)的保護，是利國利民的好節(jié)目。

總而言之，大型紀錄片《武當文脈》編導人員增強文化自覺，堅定文化自信，以強烈的歷史主動精神，投身社會主義文化強國建設。通過住在當?shù)厣钊肟疾?，充分挖掘武當文化蘊含的人文精神，努力反映傳統(tǒng)文化傳承發(fā)展特色，讓武當文化展現(xiàn)出永久魅力和時代風采。該紀錄片立意高遠，視角獨到，由親身經歷者所講出的細節(jié)、所體驗的感情、所感悟的思想來反映武當文化傳承發(fā)展，更加真實、具體、生動，更富有現(xiàn)實性、鮮活性和權威性，有利于增強當代觀眾與武當文化的連接，推進武當文化的傳播。

A New Attempt to Inherit and Develop Wudang Culture

Professor Yang Lizhi

Since 1996, I have participated in the planning, writing and academic guidance of three CCTV documentaries on Wudang culture, and interpreted the history and culture of Wudang Mountain as a guest. These three documentaries are "Wudang Mountain" (2 episodes) broadcast on CCTV 4 in February 1998, "Across China, Shiyan" (7 episodes) broadcast on CCTV 4 in March 2004, and "Taoism and Wudang Mountains" (9 episodes), a large-scale humanistic documentary broadcast on CCTV 10 in January 2009.

By comparing with the previous documentaries, I think that the 16-episode documentary "Wudang Cultural Context" adopts the form of oral accounts of history from the non-hereditary inheritors and Wudang cultural scholars, and panoramically shows the historical and cultural research of Wudang Mountain and the true face of inheritors of intangible cultural heritage of Wudan Mountain, and comprehensively presents the current Wudang cultural research. It has outstanding historical value and anthropological significance. "Wudang Cultural Context" has several features worthy of affirmation.

First of all, the documentary pays more attention to the deeds of inheritors of intangible cultural heritage and cultural scholars in Wudang Mountain. If the previous documentaries mainly focused on material wealth such as natural landscape, ancient buildings and cultural relics, then “Wudang Cultural Context” focuses on the activities of people who devote themselves to the inheritance and development of Wudang culture, presenting the spiritual outlook and life style of inheritors and cultural researchers in Wudang Mountain. The ancients said that "people can promote Taoism, but Taoism cannot promote people". As individual "inheritors", ordinary as they may be, they have devoted themselves to Wudang cultural research, cultural relics protection, compilation of local chronicles, martial arts drills and inheritance, Taoist music research and teaching, folk song teaching and other "road" activities for decades or more, which has made the excellent traditional Chinese culture alive. The vivid stories told by these characters ignited the audience's love for the natural environment and traditional culture, aroused people's resonance for the core values of freedom and harmony, integrity and goodness, and made modern urbanites more fond of the beautiful mountains and rivers of the motherland and Chinese traditional culture.

Secondly, the documentary attempts to achieve creative transformation and innovative development of Chinese traditional culture. As an important part of Chinese traditional culture, the core values of Wudang culture need to be re-summarized and condensed, and interpreted in line with the requirements of the times. For example, the core meaning of "Baohe Taihe"(always maintains and gathers great harmony) and "Wanguo Xianning" (all countries in the world are in harmony and peace) in Wudang culture is conducive to cultural exchanges and mutual learning among modern countries and jointly promote the construction of a community of human destiny. The ancient architectural complex of Wudang Mountain is a world cultural heritage. Wudang culture has a global influence. It is of great practical significance to dig deeply into the concept of harmony and the spirit of tolerance in the treasure house of Taoist thought, to establish a harmonious relationship among different nationalities, countries and religions, to form a shared community of human destiny, to promote world peace and to enhance human well-being. For example, some of the content expression means of Wudang culture are relatively old, which need to be combined with modern society through creative transformation and innovative development. Burning incense, offering tea and practicing Taiji internal skills, for instance, used to be the activities of Taoist priests in the temple. Now, through transformation and innovation, they are integrated into the daily life of ordinary people in a new form and nourish the contemporary soul, which is conducive to promoting the development and needs of modern social culture.

Thirdly, the documentary pays more attention to the popularization of ecological civilization and guides people to develop good habits of reverence for ecology and love for life. The episode of "Uncle Bird，Liu Hongjun”, from Liu's observation of bird activities to educating students to love and protect birds, helps students develop good habits of respecting, conforming to and protecting nature. This is not only the inheritance of the ecological protection consciousness of Wudang culture Taoism of “Adapting to the things”, “Being kind to protect the things”, and “helping to nourish the things”, but also the development of Taoist culture's thought of not abandoning things, not harming things, actively saving things and "helping living things". General Secretary Xi Jinping has repeatedly talked about the need to properly handle the relationship between man and nature: " Man and nature coexist in harmony. Harming nature will eventually hurt mankind. Natural resources such as air, water, soil and blue sky are unsustainable. Industrialization has created both unprecedented material wealth and irreparable ecological trauma. We must not exhaust all the resources passed on to us by previous generations and leave nothing to our children or pursue development in a destructive way. Clear waters and green mountains are as good as mountains of gold and silver. We should follow the concept of harmony between man and nature and seek the road of sustainable development. " Wudang Cultural Context" pays attention to such figures, and advocates the awareness of respecting ecology and protecting nature, which is conducive to the popularization of modern ecological civilization and the protection of water source areas in the middle route of South-to-North Water Transfer Project. It is a good program for the benefit of the country and the people.

In a word, the editors and directors of the large-scale documentary "Wudang Cultural Context" have enhanced their cultural consciousness, and strengthened their cultural self-confidence, and devoted themselves to the construction of a strong socialist cultural country with a strong historical initiative. By living in the local area and making in-depth investigations, they fully explored the humanistic spirit contained in Wudang culture, and strived to reflect the inheritance and development characteristics of traditional culture, so that Wudang culture can show its permanent charm and the style of the times. With a unique perspective, the documentary bears a lofty conception. It reflects the inheritance and development of Wudang culture from the details, feelings and thoughts of the people who have experienced it. It is more reality, concrete, vivid, realistic, fresh and authoritative. It is conducive to enhancing the connection between contemporary audiences and Wudang culture and promoting the dissemination of Wodang culture.

附一：《武當文脈》主題詩

精氣神的升華

文/郭忠民

鏡頭

在時光隧道中尋覓

快門

在生命海洋中跳動

色彩

在青春氣息中閃耀

聲音

在歷史深谷中回響

畫面

在憧憬遐思中切換

目光

在隔空思辨中流轉

腳步

在時代洪流中震撼

角色

在文武血脈中融合

人物

在清風苦雨中成就

太極

在天地和合中演義

精神

在八百武當中凝聚

心靈

在談古論道中洗禮

故事

在精氣神的升華中——延伸

附二：《武當文脈》簡介

《武當文脈》人文紀錄片以武當山非物質文化遺產為切入點，將地理意義上的“山脈”和精神層面上的“人脈” 相結合，近距離跟拍記錄當下武當非遺傳承人及相關民眾的日常生活和內心世界，采用口述歷史的形式，對武當文化進行了系統(tǒng)梳理和全景式呈現(xiàn)，為傳遞武當精神、傳播武當文化做出全新嘗試。

武當山的物質文化遺產與非物質文化遺產共生于同一個文化空間當中，形成了一種根植于本土、根植于民間，并且延續(xù)千年的活態(tài)文化。在武當山上，至今仍有數(shù)百名道人依循傳統(tǒng)的道家儀軌修行，也有個人或機構傳習武當武術、道醫(yī)、道樂等。八百里武當?shù)奶斓厣酱ㄖg，練拳習劍、采集草藥、捻茶制香，既是他們賴以生存的方式，也是他們修養(yǎng)身心的途徑。當我們身處其中, 就能夠深深感受到這一方民眾與武當山獨特的文化地理環(huán)境渾然一體的濃厚人文氛圍。

《武當文脈》分為武當文化“傳承”“研究與保護”“傳播”三個版塊，全套作品共十六集，每集12至15分鐘，時長共計200分鐘左右。從武當武術、道醫(yī)、道樂、香道、茶文化、文化傳播等不同主題切入，聆聽主人公的人生故事，觸碰他們的精神空間。通過這些“武當人”在傳承非遺、守護文化的點點滴滴之中，我們仿佛感受到武當山的宏闊、包容以及其間蘊含的無限生機。

本片由北京意趣閣文化傳媒有限公司攝制，湖北大學武當山文旅研究中心監(jiān)制，湖北長江傳媒數(shù)字出版有限公司出版。