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百城之城——首尔

更新时间:2015/8/9 10:01:02 来源:纽约时报中文网 作者:佚名

A Hundred Cities Within Seoul
百城之城——首尔

The Korean filmmaker Bong Joon-ho turned from the street into a passageway barely wide enough for two people. “Look at these dirty stairs,” he said rhapsodically, pausing to peer through a doorway at tiles of perhaps ’70s-era vintage. The passageway descended farther and took a hairpin turn into a pedestrian alley of uneven brick walls, overhead knots of electrical wire and drying laundry. “Maybe a detective could chase a criminal here,” he said, presumably imagining actors careening down the alley. “I have to shoot something here before something destroys it.”

韩国导演奉俊昊从大街拐入了一条过道,那地方窄得只能容下两个人。“看看这些脏兮兮的楼梯,”他兴致盎然地说道,还停下来瞅了瞅一户人家贴着七十年代古董瓷砖的门廊。这条过道一路下行,经过一个急转弯,拐入了一条普通的小巷,巷子两边是不平整的砖墙,头顶上是一些纠结在一起的电线和晾晒的衣物。“也许这里可以拍一段侦探追捕罪犯的场景,”他一边说,一边想象着演员们顺着小巷狂奔。“我得赶紧拍个什么,趁这儿还没被毁。”

Mr. Bong, the critically acclaimed director of the dystopian thriller “Snowpiercer” as well as “The Host,” which is set in Seoul and stars a man-eating river monster, is not your average tour guide. And that was exactly the idea. I had visited the South Korean capital once before, during a rainy autumn, and while dazzled by the neon lights and spectacularly effective subway system, had barely scratched the city’s surface.

奉俊昊可不是一个一般的导游,这位广受好评的导演曾拍过反乌托邦惊悚片《雪国列车》和以首尔为背景、一个吃人河怪担任主角的《汉江怪物》。这正是我此行的意义所在。我以前曾来过一次韩国首都,那是一个下着雨的秋天,我目眩神迷地沉醉在五光十色的霓虹灯和四通八达的地铁系统中,看到的却始终是一些浮光掠影。

Seoul is the heart of an urban area of more than 25 million people — among the largest in the world — and like any 21st-century megalopolis, it is impossible to grasp as a single entity. From N Seoul Tower, a 777-foot-spire atop an 800-foot hill, the densely packed city rolls away into the hazy distance, stopping only where it comes up against the encircling mountains. If you look down from the top, there could be hundreds of Seouls, and I didn’t know which to choose.

首尔位于一片人口超过2500万的都市区的中心,位列世界最大城市之一,和其他的21世纪巨型城市一样,你无法把首尔看成某种单一的存在。从建在800英尺(约243米)山顶上的777英尺(约237米)尖塔“N首尔塔”上看去,这座人口密集的城市延伸到了远处迷蒙的薄雾中,及至周围连绵的山脉脚下才收住了势头。如果从最高处俯瞰,你会发现成百上千个首尔,所以我不知该怎样选择。

I knew, though, that I wanted to see contemporary culture beyond the best-known exports — the television shows that are staples across Asia and the perfectly choreographed K-pop videos. And so I sought out native informants, each a creative force unto his or herself: Shin Kyung-sook, a best-selling novelist; the fashion designer Juyoung Lee; Kim Sehwang, a musician; and Mr. Bong. I invited each to show me a part of Seoul that inspired them or held special meaning. One invited me to a museum, one to her place of work, and the other two to favorite neighborhoods. They decided which versions of Seoul I would see.

但我知道,我想看看韩国的当代文化,而不是人们早已熟知的韩流,比如那些风靡亚洲的电视节目和精心剪辑的流行音乐视频。所以,我找到了一些深知首尔的本地人,他们每个人本身就是一种创新力量,其中包括畅销小说作家申京淑、时装设计师李周永(Juyoung Lee,音)、音乐家金世晃(Kim Sehwang,音)和电影导演奉俊昊。我请每个人带我看看首尔让他们灵感迸发或对他们有特别意义的那一部分。有人带我去了博物馆,有人带我去了她工作的地方,而另外两个人则带我参观了他们最喜欢的地段。这些人决定了我将看到何种版本的首尔。

“Snowpiercer” was based on a French graphic novel and shot in the Czech Republic with actors from at least seven nations. In it, people of all classes, humanity’s last survivors, are jammed together on a hurtling train. I should not have been surprised, then, that Mr. Bong, 45, chose to share a global Seoul. To get to our rendezvous, I climbed the sloping streets of the Itaewon neighborhood, past a cluster of gay and transgender bars, and, farther on, an increasing quotient of Middle Eastern restaurants.

《雪国列车》是一部根据法国漫画小说改编的电影,拍摄地点在捷克共和国,剧中演员至少来自七个国家。在这部电影中,来自社会各阶层的人类幸存者都困在一列疾驰的火车上。因此,今年45岁的奉导演打算和我一起看看全球化的首尔,并不令人惊讶。为了赶到我们的集合地点,我爬上了梨泰院的坡道,经过了一连串的同性恋与跨性别人士酒吧,继续向前,又看到越来越多的中东餐厅。

In Itaewon, you can take a date or business associate out for a suitably impressive dinner on Itaewon-ro No. 27, or get a cellphone hooked up after hours in Nigerian Alley, side streets that respectively draw full-freight expats and the scrappier remittance class. I passed these places on my way to meet Mr. Bong at the Seoul Central Mosque, set on a hilltop where Itaewon meets the neighborhood of Hannam, its dome and twin minarets a beacon to Korea’s tiny minority of Muslims.

在梨泰院区,你可以带约会对象或生意伙伴在梨泰院路27巷吃一顿不错的晚餐,或者在尼日利亚巷(Nigerian Alley)逛了几个小时之后给手机入网,那里是几条各有特色的小街,吸引着许多来韩国工作的外国人和一些更敢闯的汇款族。我在去首尔中央清真寺与奉先生见面的路上经过了那些地方。中央清真寺坐落在一个小山坡上,那里是梨泰院与汉南交界的地方。这座有穹顶和两座宣礼塔的清真寺是韩国规模很小的穆斯林族群的灯塔。

While Friday congregants milled behind us in the late afternoon sun, we sat on a bench that looked out over the city. “This part of Seoul is amazing,” he said. “It symbolizes the incoherence of a city that doesn’t have strong continuity.” He held his hands up and made a rectangle with his fingers, framing an imaginary shot. “Look at the layers,” he said.

在下午三四点的阳光里,前来做礼拜的穆斯林在我们身后聚集了起来。我们坐在一条长凳上眺望这座城市。“这部分的首尔市太令人吃惊了,”他说。“这里象征着一座城市中互不相干的文化风景,而这座城市本身的发展并没有太强的连续性。”他举起双手,用手指拼出一个方框,做出镜头状。“看看这些不同层次吧,”他说。

In the foreground were old houses, then a church steeple in the middle distance, a common sight in a country that is nearly a third Christian. Beyond lay the Han River and too many high-rises to count. “In five or 10 years these old houses will be gone,” he said. “This is a city of destruction and reconstruction.”

这个镜头中的前景是一些老房子,中间是一座教堂的尖顶,在一个约莫三分之一人口是基督徒的国家,这是一种常见的景象。更远处是奔流的汉江和多到数不清的高楼大厦。“再过五年或十年,这些老房子就不见了,”他说。“这是一座正在经历大拆大建的城市。”

As the call to prayer sounded, Mr. Bong led me away from the mosque and onto a narrow street, Usadan-ro No. 10. The businesses we passed fell roughly into three categories. There were specialty shops — haberdashery, hardware — where it appeared neither staff nor signage had changed in 50 years. There were restaurants of more recent origin serving kosher Korean food or Turkish kebabs. And then there were the newest arrivals: a three-month-old wine bar, a juice bar, a tattoo-studio-slash-art-gallery called Soul Ink, a clothing shop in which every item was either black or white. One cafe sported a name that, as near as I could figure out, roughly translates as “maybe we’re open today”; two invitingly fluffy white Samoyeds named Cloud and Storm “work part time,” according to the barista. The neighborhood hovered in that sweet spot just before people start complaining about gentrification. “Here it all mixes very naturally,” Mr. Bong said.

召唤穆斯林人祷告的声音响了起来,奉导演带我离开了这座清真寺,踏上了一条窄街,雩祀壇路10巷。一路上,我们经过的商业场所大致可以分为三类,有些是特色商店,比如男子服饰用品店与五金店,这样的商店无论是员工还是招牌都已经五十年没变过了。另一些是近几年出现的餐厅,提供地道的韩式食品或土耳其烤肉。还有一些是前不久才开张的,比如一家刚营业三个月的葡萄酒酒吧,一家果汁饮品店,一家名为灵魂之墨(Soul Ink)的刺青工作坊,一家专卖黑白色系的服装店。一家店名很夸张的咖啡店,以我最大的理解能力,该店名大概可以译为“我们今天也许开业”;据调咖啡的师傅说,店里招揽客人的那两只名为云朵和风暴、可爱的毛茸茸的白色萨摩耶犬都是“兼职员工”。这个社区目前发展得刚刚好,人们还没有开始抱怨旧城改造。“在这里,一切混搭得那么自然,”奉导演说。

We walked farther down the street to a bar called Aoi Sora with a triangular sign. It specializes in daytime drinking, Mr. Bong said; from Monday to Thursday, it closes at 7 p.m. Inside, by the light of a single large square window at the back, he ordered clams in their shells and a bottle of clear alcohol with a ginseng root winding through it, which was not on the menu but was created by the bartender, who in his off hours teaches a class in traditional booze-making. We sipped from small ceramic cups, and Mr. Bong talked more about his changing city. “Every alley has its own story,” he said.

我们沿着这条街继续往前走,来到了一家名叫Aoi Sor的酒吧,酒吧有块三角形的招牌。奉先生说,这家酒吧的特色是白天营业;从星期一至星期四,该酒吧每天晚上7点钟就关门了。在酒吧里,借着后面那扇大方窗的亮光,他点了一份带壳的蛤蜊和一瓶有人参浸泡其中的清酒,这种酒并没有列在饮品清单上,而是这位调酒师特别配制的,他业余时间专门开班教传统的酿酒工艺。我们端起小小的瓷酒杯,品了一小口清酒,然后奉导演又滔滔不绝地谈起了这座正在变化的城市。“这里的每条小巷都有自己的故事,”他说。

Over eight days in Seoul, destruction and transformation were regular themes. Ms. Shin, the novelist, explained her city this way: “In Paris or New York, when you have an appointment with a friend, you can meet her in the same place that you did a year ago. In Seoul, you can’t, because there will be something new there.” New Yorkers may quibble, but her point stands; in Seoul the change is especially fast and comprehensive. But, Ms. Shin said, those same qualities are part of the city’s dynamism and energy.

在首尔的这八天时间里,拆除与改造是我们常常讨论的话题。小说家申京淑是这样阐述她的这座城市的:“在巴黎或纽约,如果你约了一位朋友见面,可以去一年前的老地方。但在首尔,你做不到,因为一年后那里已经成了另外一个地方了。”纽约客们对此可能会提出异议,但她的观点也并非不成立;首尔的变化特别快,而且是全方位的。但申京淑说,这种快速而全面的变化也是首尔的活力与能量所在。

They are also ones essential to her work. Ms. Shin, 52, is the author of “Please Look After Mom,” which sold more than a million copies in Korea and was published in English in 2011. In it, an old woman from the countryside comes to visit her grown children in Seoul. She makes it as far as the central train station and then disappears, lost in the matrix of the shape-shifting city. “Seoul is an important backdrop because I wanted to represent the clash between generations,” Ms. Shin said.

这样的品质对她的工作也很重要。今年52岁申京淑是小说《寻找母亲》的作者,这本书在韩国售出了超过100万册,并于2011年出了英文版。书中讲述了一位老妈妈从农村来到首尔看望几个长大成人的孩子。但她刚到中央车站就不见了,消失在这座变幻莫测的城市里。“首尔是个重要的背景,因为我想表现两代人之间的冲突,”申京淑说。

The city is not all frenetic evolution. There are serene oases in its parks and greenways, on the grounds of its centuries-old palaces and in its museums. Ms. Shin asked me to meet her at the Leeum, Samsung Museum of Art. It displays Korean art through the centuries, as well as contemporary works by both Korean artists — like the video-art pioneer Nam June Paik — and international stars like Andreas Gursky and Louise Bourgeois. When we arrived just before opening, an air of tranquillity prevailed.

但这座城市也并没有完全陷入一场狂热的演进。在市内的公园绿地中,在百年的宫城与博物馆内,仍然有些远离喧嚣的绿洲。申京淑约了我在Leeum三星美术馆见面。这里展示了韩国百年来的艺术作品,以及诸如影像艺术先锋白南准等韩国艺术家和安德烈亚斯·古尔斯基(Andreas Gursky)、路易丝·布尔乔亚(Louise Bourgeois)等国际巨星的当代艺术作品。我们到那儿的时候博物馆还没开门,四处弥漫着一种宁静的氛围。

A small group of us — Ms. Shin, a poet friend of hers, an interpreter and I — followed an English-speaking guide through the Mario Botta-designed wing that houses mostly traditional art. (Other parts of the museum complex were designed by Jean Nouvel and Rem Koolhaas.)

我们一行人——包括我、申京淑、她的一位诗人朋友和一名翻译——跟随一位英语导游参观了马里奥·博塔(Mario Botta)设计的博物馆侧翼,那里展出的大部分作品都是传统艺术。(该博物馆的其他部分由让·努维尔[Jean Nouvel]和雷姆·库哈斯[Rem Koolhaas]设计)

The first piece we saw was an ethereal celadon ewer from the 13th century, decorated in a raised-relief lotus pattern. Beneath a soft spotlight in the darkened room, it looked almost translucent. Under the Goryeo dynasty, which lasted from the 10th to the 14th century, Korean artists adopted the Chinese method of making the glazed, pale-green pottery, then refined the craft to the point that many art historians consider Korean celadon among the finest ever made.

我们看见的第一件作品是13世纪的一个精美青瓷水罐,罐身装饰着莲花形的浮雕图案。在幽暗的展览室中,这件青瓷在一盏光线柔和的聚光灯下看起来几乎是半透明的。在横跨10世纪到14世纪的高丽王朝时期,高丽的艺术家们采用了中国人制造这种浅绿色釉面陶器的方法,并将之发扬光大至炉火纯青的程度,以至于许多艺术史学家们都认为高丽青瓷是有史以来最好的青瓷艺术品之一。

Though a well of knowledge herself, our human guide had also handed us digital ones. Museum audio guides tend to be clunky and overly insistent, but these lightweight, touch-screen paddles invited play. My sleek little machine sensed which object I was looking at and silently presented its image with white-on-black text. Some of the objects could be enlarged and spun around on the screen, allowing me to study curves and texture in minute detail — the next best thing to being able to pick up the items. In front of a 15th-century blue-and-white porcelain jar, I became so absorbed in the digital display that I fell behind the group.

尽管导游本人已经很学识渊博了,她还是给了我们几个电子版的导游设备。虽然博物馆的电子讲解机一般都很笨重,而且内容冗长,但这几台轻便的触屏设备却很好用。我这台造型优美的小机器感应到了我在观看的作品,便在屏幕上显示出了这件作品的图片,并配上了黑底白字的讲解内容。有些物品的图片可以在屏幕上放大旋转,让我能够从极其细微的角度仔细研究那些作品的弯曲形状和材料质地——其好处仅次于能把这东西拿起来观摩。在一件15世纪的蓝白色陶罐面前,我看着那些数码图像看着了迷,便落在了队伍的后面。

But one specific item was our true destination. It was a foot-and-a-half-tall, white, rotund, 18th-century porcelain vessel called a moon jar. Lit from above, it appeared to float like a heavenly body over its pedestal. A jagged, tea-colored stain cut across the surface like an abstract painter’s flourish, the result of oil once held in the vessel seeping out. Ms. Shin said the jar reminded her variously of a mountain, a pregnant woman or a woman in a hanbok — a voluminous traditional dress — on a windy day.

不过,有一件作品是我们此行的真正目的。那是一个白色圆形、高1.5英尺(约46厘米)、名为月亮罐的18世纪陶瓷器皿。在上方灯光的照射下,这件作品看上去像是一件漂浮在基座上的神器。有一道锯齿状的茶色痕迹划过罐面,像是某位抽象艺术家大笔一挥,将曾经盛在罐子里的多余油墨洒了出来。申京淑说,这个罐子让她想起很多东西,比如一座山脉、一位孕妇或是在某个起风的日子里一位穿着传统服装的女人。

She visits the jar regularly, she said, and it offers her peace when she is stressed. If Seoul’s manic side pulses through her settings, the jar shapes her work in a different way. “I want to write sentences as beautiful as the moon jar,” she said. “I haven’t done it yet.” She is particularly in love with the oil stain. “The line of the stain shows the flow of time. Humans didn’t make it; only history and nature could.”

她说自己经常来看这只罐子,压力大的时候,这只罐子会给她带来平静。如果首尔的喧嚣是她故事背景中的脉搏,那么这只罐子则以另一种方式塑造了她的作品。“我想把每个语句都写得像这只月亮罐一样美,”她说。“我目前还没做到。”她特别喜欢罐子上的油渍。“这条污痕体现了时间的流逝。人类是做不到的,只有历史和自然能做到。”

Ms. Lee, the fashion designer, invited me to visit her at her showroom in Gangnam, the district made internationally famous after being cheerfully ridiculed by the pop singer Psy. Gangnam has had an exceedingly short modern history — two locals, only half-jokingly, told me that it began in 1988, when the country’s first McDonald’s opened there and became a popular meeting place.

时尚设计师李女士邀请我去参观她在江南区的展览厅,该区自从被流行歌手“鸟叔”(Psy)载歌载舞地嘲弄了一番之后就享誉国际了。江南区的现代史极短,有两位本地人半开玩笑地告诉我说,这个区始于1988年,当时韩国的第一家麦当劳在江南区开张了,于是这里变成了流行的聚会场所。

By reputation a land of bling, it is where the luxury brands that line ritzy avenues around the world have established their Korean beachheads. It is also the seat of Korea’s own fashion industry, home to labels like Jinteok and Bakangchi, both stars of Seoul Fashion Week. They and other Korean designers share the stretch of Samseong-ro between Hakdong-ro and Dosan-daero with Ms. Lee’s brand, Resurrection.

该区享有浮华的声誉,也是世界各地名品街上的那些奢侈品牌在韩国的据点所在地。这里也是韩国本土时尚工业的所在地,驻扎了一些著名的韩国品牌,比如晋德(Jinteok)和朴项治(Bakangchi),这两位品牌设计师都是首尔时尚周上的明星。他们以及其他韩国设计师的品牌,还李设计师的Resurrection品牌都驻扎在鹤洞路与岛山大路之间三城路的那段狭长地带。

Ms. Lee, 44, is a traditional Korean woman in some respects: She went into the same business as her mother, who works in the same building, still a designer, and helps care for Ms. Lee’s two sons. But she is also known for her sumptuous neo-Gothic creations, which have clothed, among other foreign celebrities, Marilyn Manson. When he played in Seoul about 10 years ago, Ms. Lee seized fate and delivered some of her clothes to the concierge at his hotel. Ten minutes later, she said, Mr. Manson called her and asked for more. “He has a strange beauty, a grotesque beauty,” she said, calling him one of her biggest influences.

今年44岁的李设计师是一位在某些方面很传统的韩国女性:她继承了母亲的事业,而她的母亲也在这栋大楼里工作,至今仍然是一名设计师,同时还帮着照看李女士的两个儿子。李女士以华丽的哥特式设计风格闻名,她所设计的服装已经穿在了一些外国名人的身上,比如玛丽莲·曼森(Marilyn Manson)。大约十年前,玛丽莲·曼森在首尔演出时,李周永抓住了这个机会,她把自己设计的几件衣服送到了曼森酒店的服务台。她说,10分钟后曼森就给她打了电话,要她多送几件过来。她说,“他有一种另类的美,一种奇特的美。”她认为曼森是对她影响最大的一个人。

So it was perhaps not a surprise that I found her in the Resurrection showroom, which is open to the public, sitting on a carved black-lacquered chair upholstered in velvet. Her hair was streaked magenta. Dozens of red candles set in front of an enormous mirror suggested an altar, and wrought-iron chairs contrasted with a red wall that displayed an eclectic set of crosses. I would not have been surprised to find a well-appointed dungeon nearby. All this was backdrop to clothes made of sheer fabrics, leathers and synthetic furs, visible heirs to the designs of Alexander McQueen.

因此,在我发现她坐在Resurrection对公众开放的展厅里一把黑漆雕花天鹅绒座椅上时,这也许就不是什么奇怪的事了。她的头发挑染了洋红色。十多支蜡烛摆在一面巨大的镜子面前,把那里布置成了一个祭坛,还有几把铸铁椅子与一面展示着各种十字架的红色墙壁形成了对比。若再在附近发现一间像模像样的地牢我也不会觉得很吃惊。这里的一切都是那些薄纱、皮革与人造皮草服饰的背景,而这些服饰显然都传承于亚历山大·麦昆的设计。

Ms. Lee is unusual in the world of high-end fashion as a woman who designs mainly for men. Or, at least, she sends mostly men down the runway, often looking like futuristic vampires, but women buy her designs, too. Her men’s wear, in turn, sometimes incorporates feminine details. She showed me a men’s sleeve garter inspired by women’s garter belts.

李周永作为一名主要为男人设计服饰的女性,在高端时尚领域是不同寻常的。至少,她把众多男性送上了T型台,让他们看起来像是未来世界的吸血鬼,但女人也会购买她的设计作品。反过来,她设计的男装有时候也融入了一些女性的元素。她给我看了一根男士的袖箍,其设计灵感来自于女性的吊袜带。

Men, women, East, West — Ms. Lee mixes it up. Her love of black and leather reflects her Western side, she said (she studied at Parsons School of Design in New York). Lately, though, she has been reaching into the Korean past.

男性,女性,东方,西方——李设计师把它们融为了一体。她说,她对黑色与皮革的热爱反映了她西方化的一面(她曾就读于纽约帕森设计学院)。不过近几年,她已经在探索韩国的过去了。

She walked to a rack of clothing and brought out a gold, red and black brocade jacket. This kind of silk was once used to make hanbok, she said, and she learned how to work with it from her mother. She showed me another piece, a men’s jacket for her 2015 collection, in a traditional embroidered swan pattern. “That’s my homework,” she said. “To combine Korean traditional fabrics with the modern.”

她走到一排衣服旁边,拿出了一件以金色、红色与黑色设计的锦缎夹克。她说,这种丝绸过去常常用来制作韩服,而且她从母亲那儿学会了怎样运用这种面料。她向我展示了另外一件作品,那是她为2015年时装系列做的一件男士夹克,衣服上有传统的天鹅刺绣图案。“这是我做的功课,”她说。“将韩国传统面料与现代设计相结合。”

All the artists I met seemed to observe more than lament Seoul’s ceaseless transformation. All of them, though, without making an explicit point of it, showed me how history ran through their city and their work. Kim Sehwang, a nationally renowned guitarist, suggested we meet in the neighborhood of Samcheong, and invited along a longtime friend, the movie producer Jimi Nam.

我见过的所有艺术家都更倾向于观察而非悲叹首尔的不断转变。虽然所有人都没有明确地说出这一点,但他们都让我看到了韩国的历史对他们的城市与作品有怎样的影响。韩国知名的吉他演奏家金世晃金世晃建议我们在三清见面,还邀请了一位他认识了很久的朋友,电影制作人吉米·南(Jimi Nam)。

We sat down to lunch upstairs at a busy restaurant called Nunnamujip, near a window overlooking the street, where the stairway is lined with celebrity signatures. They ordered a spread of traditional items that included succulent marinated beef ribs (dok kalbi), tofu with kimchi and North Korean dumplings, which are bigger and rounder than the usual South Korean kind. Spicy rice cake sticks (dok boki), a dish that Mr. Kim said he misses when he goes abroad, rounded out the feast.

我们在一家生意很红火的餐厅Nunnamujip的二楼共进午餐,我们挑了临窗的窗户,可以俯瞰整条街,餐厅里的楼梯上排列着许多名人的签名。他们点了一堆传统食物,包括味美多汁的卤制牛仔骨、泡菜豆腐和朝鲜饺子,这种饺子比普通的韩国饺子更大更圆。最后上的是香辣年糕棒,金世晃说,这是他在国外最想吃的一道菜。

Mr. Kim and Mr. Nam, both in their 40s, had similar takes on Samcheong, remembering it as an old, rundown but romantic neighborhood that somehow, around a decade ago, became fashionable. Having escaped the kind of wholesale overhaul that has affected other areas, it has undergone a different, more gracious kind of modernization. It is still home to many hanok, traditional houses with wood frames and curving tiled roofs. Most are no longer the homes they once were, but have been restored in keeping with their original design and repurposed as shops, teahouses and restaurants. The buildings’ arched eaves line the stair-step passageways that lead up from the main road, Samcheong-ro.

金先生与南先生都是四十来岁,他们对三清的印象大致相同,他们回忆这里曾经是个破旧、简陋但很温馨的街区,然后不知怎么大约在十年前变成了一个时尚区。由于避开了那种影响了其他区域的大规模改造,这里经历了某种不一样但更加温和的现代化进程。这里有许多人仍然穿着韩服,有许多传统的住宅都是木质结构,屋顶铺着弯弯的瓦片。虽然许多房屋都不是曾经的旧宅了,但经过修复之后保持了原貌,并改作商店、茶馆和餐厅之用。这些建筑都有一段楼梯连接着主干道三清路,楼梯通道上方都有拱形的屋檐。

Mr. Kim’s mother would bring him to a noodle soup restaurant in the neighborhood when he was a boy, and when he was dating his now-wife, they would come to its cafes or the restaurant where we had lunch. The soup restaurant he and his mother would visit, Sujebi — also the name of the soup itself — is still there, and when we walked by, more than a dozen people waited outside. Groups of friends strolled the sidewalks, some couples embracing the curious local custom of dressing to match each other, stripe for stripe and toque for toque.

金先生还是孩子的时候,他母亲常带他去这里的一家汤面馆,而他和现在的妻子当初刚刚约会的时候,常常会来这里的咖啡馆或去我们刚刚吃午餐的那家餐馆。他和母亲常去的那家“面片儿汤面馆”(Sujebi)还在老地方,这也是面馆汤面的名字,我们经过这家面馆时,门口还有十多个人在排队等候。路边有三五成群的朋友在逛街,有些情侣还按照当地的独特风俗穿着情侣衫,条纹衫配着条纹衫,毛线帽搭着毛线帽。

Mr. Nam said he first came to the renewed Samcheong in 2004, when Park Chan-wook, director of the revenge movie “Oldboy,” invited him to meet at a French restaurant. “I was skeptical,” Mr. Nam said, “but he told me that the neighborhood was starting to change.” Now he doesn’t come to Samcheong often, but when he is publicizing a new movie, he rents out a whole cafe in the neighborhood and invites the news media.

南先生说,2004年他第一次来到改造后的三清,讲述复仇故事的电影《老男孩》的导演朴赞郁邀请他到一家法国餐厅见面。“我当时很怀疑,”南先生说,“但他告诉我,这片街区已经变了。”如今,他不常来三清了,但他每次宣传新电影的时候,都会包下这里的一家咖啡厅,然后邀请新闻媒体。

We finished our neighborhood tour over iced drinks in a cafe; its windows were wide open to the sun and a light breeze ruffled our napkins. Out on the sidewalk, Seoulites passed glass storefronts and curving tiled rooftops, sometimes both part of a single building that stitched together old and new. Mr. Kim looked up and down the street and said, “I wish I could come here more often.”

在一家咖啡厅喝完了冰冻饮料之后,我们结束了这片街区之旅;咖啡厅的窗户完全敞开了,对着太阳,一阵微风吹起了我们的餐巾。在窗外的人行道上,首尔人路过了那些玻璃橱窗和铺着弯瓦片的屋顶,有时候这两者是同一栋新旧结合的建筑物的一部分。金先生看了看这条街说,“我真希望自己能常来这里逛一逛。”

Aoi Sora, 79-1 Usadan-ro No. 10-gil, Yongsan-gu; 82-70-4217-1977.

Aoi Sora, 79-1 Usadan-ro No. 10-gil, Yongsan-gu; 82-70-4217-1977.

Nunnamujip, 136-1 Samcheong-ro, Jongno-gu; 82-2-739-6742.

Nunnamujip,钟路区三清路136-1号;82-2-739-6742。

Sujebi, 101-1 Samcheong-ro, Jongno-gu; 82-2-735-2965.

Sujebi,钟路区三清路100-1号;82-2-735-2965。

The Leeum, Samsung Museum of Art, 60-16 Itaewon-ro No. 55-gil, Yongsan-gu; 82-2-2014-6901; leeum.samsungfoundation.org/html_eng/global/main.asp. //needs the whole web address.//

三星艺术博物馆李氏分馆,龙山区梨泰院路55巷60-16号;82-2-2014-6901;leeum.samsungfoundation.org/html_eng/global/main.asp. //needs the whole web address.//

N Seoul Tower, 105 Namsangongwon-gil, Yongsan-gu; 82-2-3455-9277; nseoultower.co.kr/eng.

N首尔塔,龙山区南山公园巷105号;82-2-3455-9277;nseoultower.co.kr/eng

Seoul Central Mosque, 39 Usadan-ro No. 10-gil, Yongsan-gu; 82-2-793-6908; koreaislam.org/en/mainpage.

首尔中央清真寺,龙山区雩祀壇路10巷39号,82-2-793-6908; koreaislam.org/en/mainpage.

Resurrection by Juyoung Lee, 742 Samseong-ro, 2nd floor, Gangnam-gu; 82-2-512-3384; resurrectionbyjuyoung.com.

李周永设计师的Resurrection展览厅,江南区三城路742号二层,82-2-512-3384;resurrectionbyjuyoung.com

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