書藏古今，港通天下。寧波是一座向海而生，因港而興的城市。為了向世界講好寧波故事，寧波發(fā)布推出“雙語寧波”欄目，圍繞歷史、地理、人文、經(jīng)濟(jì)等多個方面聚焦“世界的寧波，寧波的世界”。
作為海上絲綢之路的起點(diǎn)城市之一，寧波自古就和世界各地往來密切。我們跟著寧波晚報“外國檔案里的寧波”欄目，帶大家換個視角，看看外國檔案里的寧波是什么樣子？
160多年前，寧波的市井煙火是什么模樣？
What did the hustle and bustle of Ningbo's streets look like over 160 years ago?
1860年倫敦出版的《Pictures of the Chinese》。
Pictures of the Chinese, published in London in 1860.
160多年前，寧波街頭活躍著哪些小販？牙醫(yī)、糖販、挑酒夫、賣燈籠的，還有花匠、石匠、理頭師、挑水工分別是怎么工作的？
More than 160 years ago, which street hawkers and vendors were active in Ningbo? And how did these professionals ― dentists, sugar vendors, wine carriers, lantern sellers, as well as gardeners, stonemasons, barbers, and water carriers ― ply their trades and navigate their daily lives?
1860年，在倫敦出版的英文著作《中國人自畫像》（直譯），便是這樣一本介紹晚清中國“三百六十行”的書。
Pictures of the Chinese, Drawn by Themselves was published in London in 1860 and the book introduced the various trades and professions of the late Qing Dynasty.
作者哥伯播義從在寧波、在浙江的生活經(jīng)歷與所見出發(fā)，描寫晚清浙東地區(qū)的市井百態(tài)。每介紹一個行當(dāng)之前，都以一張寧波畫家的速寫為引，以畫引文、以文釋畫，圖文并茂，承續(xù)了中國“左圖右史”的敘事傳統(tǒng)。
The author, Robert Henry Cobbold (1820-1893), offers a portrayal of the diverse tapestry of late Qing-era eastern Zhejiang’s urban life based on his residence of eight years in Ningbo and frequent travelling throughout Zhejiang Province. The book inherits the Chinese narrative tradition of “picture on the left and texts on the right,” and before introducing each profession, there would be a sketch presented (in the form of pen-and-ink etching and contributed by a native artist of Ningbo). The blend of images and words can set off each other for a richer reading experience.
寧波畫家所繪成衣裁縫。
A tailor making clothes, painted by a Ningbo artist.
該書也是少見的由西方人士寫作，介紹中國人民日常生活的人文風(fēng)俗畫冊，文字風(fēng)趣，形象生動，充滿市井煙火氣。
This book stands out as a rare endeavor of Western authors, presenting a visual narrative of the humanistic customs and daily life of the Chinese people. Its entertaining and vivid writing brings an earthly atmosphere.
2017年，寧波市第三中學(xué)英語教師劉犇將該書譯成中文《市井圖景里的中國人》，收入學(xué)林出版社“歐美漢學(xué)叢書·史地風(fēng)俗系列”。
2017 saw the translation of this book into Chinese. Xuelin Press included the work in its series of History, Geography and Customs within European and American Sinology. Notably, its translator is Liu Ben, an English teacher at Ningbo No. 3 High School.
女牙醫(yī)和字紙簍
Female Dentist and Wastepaper Basket
《市井圖景里的中國人》一書的作者哥伯播義是英國圣公會傳教士，1846年畢業(yè)于劍橋大學(xué)彼得豪斯學(xué)院。
Cobbold, author of Pictures of the Chinese, Drawn by Themselves, was an Anglican missionary, who graduated from Peterhouse College of Cambridge University.
哥伯播義。
Cobbold.
他于1848年來華并在當(dāng)年5月13日抵達(dá)寧波。1851年9月返回英國述職，1853年1月攜夫人重返寧波，直到1857年3月返英，兩次一共在寧波生活了近八年，這期間也曾往浙江各地旅行。
Cobbold came to China in 1848 and arrived in Ningbo on May 13th of the same year. In September 1851, he returned to England to report on his duties and then came back to Ningbo with his newlywed wife in January 1853. They lived there until March 1857, spending a total of eight years in this Chinese coastal city, during which he also traveled to various places across Zhejiang.
《市井圖景里的中國人》一書素材便是在此期間積累。全書一共30章，每章介紹一個行業(yè)，從內(nèi)容看，涉及婚喪嫁娶、年俗節(jié)慶、飲食服飾、工匠藝人、巫醫(yī)術(shù)士、算命卜卦等各行各業(yè)。
Whilst in China he prepared his book, Pictures of the Chinese, Drawn by Themselves, which was published by John Murray in 1860. Each chapter of the 30-chapter book introduces a local profession, ranging from weddings and funerals, festivals and customs, food and clothing, craftsmen and artists, Taoist priests and physicians, and diviners and seers.
街頭賣花郎。
A street florist.
比如第1章“江湖女牙醫(yī)”介紹了寧波地區(qū)女游醫(yī)給人“捉牙蟲”的詳細(xì)過程?！鞍⑵朋榕谱窖老x”是寧波老話童謠中的一句，當(dāng)時生活在寧波的西方人對這種神秘的醫(yī)術(shù)有濃厚的興趣并將信將疑，哥伯播義決定“以身試法”，用生動的細(xì)節(jié)捕捉了整個過程……
For example, Chapter 1 (“The Infallible Remedy”) describes in detail how female quacks in Ningbo extract toothworms or maggots for people. The verse “Granny plays a trick to coax toothworms out” comes from an old Ningbo nursery rhyme. Westerners living in Ningbo at the time were keenly interested in but skeptical of this mysterious healing remedy, so Cobbold decided to "test it out" and recorded the whole process in vivid and engaging prose ...
“我們的版畫就是這類女牙醫(yī)的真實(shí)寫照：她們?yōu)槿耸熘氖撬齻兊拈L柄雨傘、整潔的頭巾和小腳，還有那一旦遭到粗魯攻擊便隨時準(zhǔn)備應(yīng)戰(zhàn)的頑強(qiáng)性格?！备绮チx描述。
“Our engraving conveys a very truthful representation of this class of women: they are known by their long umbrellas, their small feet, and their very neat head-dress, and have the character of being well able to defend themselves if rudely attacked.” Cobbold depicts.
女牙醫(yī)“捉牙蟲”。
A female dentist "removing toothworms".
還有一張畫“收字紙”也常被引用。中國古代有敬惜字紙的傳統(tǒng)，寫剩的紙張需投入字紙爐焚燒。今天的寧波天童寺門口仍保留了一個惜字爐，上有楹聯(lián)“敬惜字紙福德無量，愛護(hù)文寶世代流芳”。
Another frequently cited etching is “The collector of Paper Scraps”. In ancient China, there was a tradition of revering and sparing printed paper, and the waste-paper had to be put into a separate fireplace, often erected in the side court of a temple, to be incinerated. Today, Tiantong Temple in Ningbo still retains a word-sparing furnace, on which there is a couplet “Venerate words and paper for infinite blessings, cherish literary treasures for generations to come”.
寧波天童寺門口的惜字爐。
The Word-Sparing Furnace at the entrance of Tiantong Temple in Ningbo.
“每個讀書人都會在書房里放一個廢紙簍。這幅圖中，站在門口的這個男人手上所拿著的正是這個廢紙簍。”哥伯播義描述插圖說，“當(dāng)那個背著大筐的男人大喊‘敬惜字紙’時，讀書人會親自或讓仆人去門口，把紙簍里的所有紙張倒到那個又輕又大的柳條筐里?！眻D中的柳條筐上寫著“永敬社”，上插小旗寫著“廣文會敬惜字紙”。
“Every scholar keeps in his study a waste-paper basket, which is accurately represented in the hand of the figure standing at the door of his house.” Describing the illustration, Cobbold says, “When the cry of the man with the large baskets, King sih sze tsze, ‘Revere and spare the printed paper’ is heard, then he will go or send his servant to the door, and empty the contents of his basket into the light and capacious skep of the collector.” The wicker basket in this illustration has “Yongjingshe” written on it, with a small flag that reads, “Guangwenhui reveres and spares the printed paper”.
收字紙。
The Collector of Paper Scraps.
路邊攤和菜市場
Roadside stalls and bazaars
人間煙火哪里尋？還看路邊小吃攤和菜市場。
Within the bustle and hustle of roadside stalls and bazaars, you can find the earthly joy of Chinese society.
賣餛飩，有兩個燈籠可能是出夜攤。
Selling wontons at a night stall with two lanterns.
《市井圖景里的中國人》的第28章，聚焦了小吃攤。該章節(jié)一共用了4幅畫面，分別是“賣餛飩”“賣石花”“賣豆?jié){”和“賣湯圓”。哥伯播義形容，“在精準(zhǔn)度上，照片都很難超越這些圖畫?！?
Chapter 28 of Pictures of the Chinese, drawn by themselves focuses on the food stalls, presenting us with four illustrations: “selling wonton,” “selling gelidium jelly,” “selling soybean milk” and “selling tangyuan.” As written by its author, Robert Henry Cobbold, “Photography itself could hardly exceed in the accuracy of these drawings.”
賣石花。
Selling gelidium jelly.
“如圖所示的小攤，往往是由攤主背在背上，然后在某個比較合適的街角安頓下來。小攤會待在那兒，直到所有食物都賣完……據(jù)我偶爾的觀察，我認(rèn)為這個小攤里誘惑我們味覺的主要食物是一種非常小的用米粉做成的湯圓，里面包裹著甜甜的餡，在甜湯里燉著……從這個便攜式的小吃攤上掛著的兩個紙燈籠，我們可以得知攤主準(zhǔn)備為夜里的客人開設(shè)‘餐館’?！?
“A stall, like that engraved on the opposite page, is carried on the back of the owner, and set down at some convenient corner of a street, where it remains till purchasers have exhausted its contents. … If I may give the result of occasional investigation, I should say that the chief article of food which here tempts the palate, consists of very small rice-flour dumplings, stuffed with a sweet confectionery, and stewed in sweetsauce. … By the two paper lanterns attached to the portable cook-shop, we are reminded that the owner is preparing to open his restaurant for evening customers.”
賣豆?jié){。
Selling soybean milk.
文字中，可以感覺哥伯播義其實(shí)并不能精準(zhǔn)分辨四個小攤之間的不同，但從頭到尾，他都對中國的美食不吝贊詞——“很少有國家能像中國這樣，生產(chǎn)出如此多樣的便宜又美味的食物；能和中國人較量廚藝的國家就更少了。雖然中國富人家的餐桌上沒有牛羊肉，但是在菜式種類上，英國任何貴族家的餐桌都很難超越他們。”
Although he found it somewhat challenging to accurately distinguish the unique snacks offered by the four stalls, his descriptions of these Chinese delicacies clearly convey his admiration — “I will venture to state my conviction that there are few countries which produce such a variety of cheap and good food as China; fewer still which will bear comparison with her people in the art of cooking. Although no mutton or beef is used at the tables of the wealthy, yet the variety of entrees is hardly exceeded by any nobleman’s table in England.”
賣湯圓。
Selling tangyuan.
在第29章，哥伯播義還詳細(xì)描述了寧波集市上的“菜市場”。
In chapter 29, Cobbold also offers a detailed description of various fresh goods available at the Ningbo bazaar.
“市場上提供很多種商品。這里有像蛇一樣的鰻魚，它們在大盆里扭動身體，相互纏繞；那里一桶桶去殼的牡蠣剛剛由強(qiáng)壯的苦力們從二十英里遠(yuǎn)的地方背來；這里有大小不一的螃蟹，其中的棕色小螃蟹在一年中的兩個月里都被拿來活著生吃，只要蘸點(diǎn)醋汁就可入口；或者如果你更喜歡吃大螃蟹，有一種被浸泡在鹽水里的，這種螃蟹就像美國的牛肉火腿一樣，把它煮熟就糟蹋它了?！焙笳唢@然指的是寧波的紅膏嗆蟹。
“The market supplies you with a great variety of good provision[s]. Here are snake-like eels wriggling and intertwining in large pans; there pails of oysters without their shells, just brought, on the backs of strong coolies, a distance of twenty miles. Here, again, are crabs of every size, from the little brown variety, which, for two months in the year, are eaten raw and alive, being merely dipped into a saucer of vinegar on their way to your mouth; or, if you prefer them, there is the large kind which have been preserved in brine, and which, like the beef-hams of America, to cook is to spoil.” “The larger kind” obviously refers to the Ningbo red cream crab.
在市場上，哥伯播義還發(fā)現(xiàn)了海參、青蛙、甲魚，以及鳥蛤、玉黍螺、貽貝等等“其它一些叫不上名字的貝類”。
In the market, Cobbold also encountered trepangs, frogs, soft shell turtles, cockles, periwinkles, mussels, and several other shellfish he couldn’t identify.
市場上賣雞鵝鴨。
Selling chickens, geese and ducks at the market.
寧波的“工匠精神”
Ningbo Craftsmanship
哥伯播義還對許多工匠有著細(xì)致的觀察，比如針匠、花匠、石匠、剃頭匠、裁縫、鞋匠、銅匠等。
Cobbold also made detailed observations of the craftspeople in China, including needle-makers, florists, stone-squarers, barbers, tailors, cobblers, and braziers.
其中“石匠”一章，他回憶了曾經(jīng)兩次從寧波去余姚大隱采石場的經(jīng)歷?！熬幼≡趯幉ǔ堑耐鈬耍瑢Υ箅[采石場的景象都非常感興趣。這些采石場位于寧波城北約15英里處，可以乘船直達(dá)，亦可水陸兼程。不過后者似乎會讓旅程更加有趣些?！?
In a chapter on stone-squarers, Cobbold recalled his two trips to the stone quarries in what is now Dayin Town, Yuyao County, Ningbo. He wrote: “A common object of interest to foreigners residing at Ningpo, is the scene of the stone quarries at Da-ying. They lie about fifteen miles to the north of the city, and may be reached either altogether by water, or partly by water and partly by land. The latter forms the more interesting journey.”
“山腳下，就在這條通往石塊開采地的崎嶇石徑之前的空地上，堆積著大量的石塊。這些石塊是被人用堅固實(shí)用的手推車或者肩扛扁擔(dān)運(yùn)下來的，放在此處等待出售。甬江的一條支流恰好經(jīng)過這里，為運(yùn)輸提供了便利。”
“At the foot of the hill, just before the rugged pathway winds into its excavated side, masses of stone meet the eye, which have been brought down thus far either on strong and effective barrows, or by means of poles on men’s shoulders. They lie ready for the merchant, for a branch of the Ningpo river runs up to this point, and affords convenience for transport.”
石匠。
The stone-squarers.
“我們的版畫中右手邊那個人正在用一把鋒利的鑿子削除石頭上面粗糙的地方。另外兩人由于找不到更合適的座位，只好各自坐在自己的工具箱上，每人手上都握著一把厚重的鐵錘，錘子的手柄則是用一塊非常粗糙的、帶有韌性的木頭做成?！?
“The right-hand figure of our etching shows a workman engaged in cutting off with a strong chisel some roughnesses in the stone. The two other figures, each sitting upon his box of tools for want of a better seat (a very common feature in Chinese economy), are each of them armed with a thick and heavy iron mallet-head, attached to a pliant handle of very tough wood.”
“那兩個忙于磨平石面的工匠之所以把辮子盤到頭頂，是為了避免辮子受損，也防止干活時產(chǎn)生的灰塵弄臟頭發(fā)。另一個更普通的石匠，將頭發(fā)扎起來盤了兩個發(fā)髻，然后用一支光滑的竹管將其固定……”
“The two workmen engaged in smoothing the surface of the stone block have only thought it necessary to wind their queues round the top of their head, and so keep them out of harm’s way, and prevent their being soiled by the dust which their employment creates. The other, a more ordinary workman, whose toil is rougher and more laborious, has gathered his hair into a peculiar double knot, which he fastens with a smooth short pin of bamboo.”
在介紹這些石料的去處時，哥伯播義對于中國石匠的手藝頗為贊賞，表示“這些人絕不缺乏才華，我們必須說中國石匠不輸于這個國家的任何人，他們在工匠當(dāng)中堪稱一流”。
Regarding the employment of the produced stone blocks, Cobbold highly admired the skills of Chinese stone artisans, stating, “...we must say of the Chinese stone-cutters that they are not behind the rest of their countrymen, and make good their claim to a high grade in the rank of artizans.”
銅匠。
The brazier.
鞋匠。
The cobbler.
而除了觀察市井人情，在寧波期間，哥伯播義還曾和丁韙良、祿賜悅理、岳腓烈等同時在甬的其他外國人士，一起制定過一套用羅馬字母拼寫寧波話的方案，并用這種表音方式編寫了地理、地圖、算術(shù)等各種通俗小冊子，以便與寧波人交流，間接影響后來的漢語拼音方案。
During his stay in Ningbo, Cobbold did more than just observe local life; he partnered with fellow missionaries like William Alexander Parsons Martin, William Armstrong Russell and Frederick Foster Gough to develop a Romanized system for transcribing the Ningbo dialect. This phonetic system was used to create pamphlets on subjects such as geography, cartography, and arithmetic, facilitating better communication with the local community. Their work indirectly paved the way for the later development of the Mandarin Chinese Pinyin system.
他也曾在寧波貫橋頭（今解放北路）寓所創(chuàng)辦寄宿制學(xué)校，后發(fā)展成“義塾”，也即后來寧波三一書院（寧波市第三中學(xué)前身）的雛形。
Cobbold also founded a boarding school at his residence in Guanqiaotou (now Jiefang North Road), which subsequently transformed into a charitable institution known as "Yishu." This institution then evolved into Ningbo Trinity Academy, and today it stands as Ningbo No. 3 Middle School.
《Pictures of the Chinese》一書應(yīng)當(dāng)完成在他離開寧波回到英國之后。他拿著從中國帶回的數(shù)十張木版畫，開始了他對中國生活的回憶。
The book Pictures of the Chinese was likely completed after Cobbold left Ningbo and returned to Britain. Drawing on dozens of woodblock prints he brought back, Cobbold started to compile his experiences and memories of China.
畫家是誰?
Who’s the painter?
據(jù)寧波文史研究者水銀告知，為《市井圖景里的中國人》作畫的畫家姓名，慕雅德在1878年版的《圣公會浙江傳教記事》一書中曾經(jīng)透露過，他就是“戴馬太”。
According to Shuiyin, a Ningbo literature and history researcher, the name of the artist who illustrated Pictures of the Chinese, Drawn by Themselves was revealed by Arthur Evans Moule (1836-1918) in the 1878 edition of The Story of the Cheh-Kiang Mission of the Church Missionary Society. The artist was “Matthew Tai.”
原文大意為：“戴馬太是一位年約45歲的寧波藝術(shù)家。應(yīng)朋友的要求，他畫了關(guān)于中國行業(yè)和職業(yè)的巧妙素描，后來由哥伯播義在他的《市井圖景里的中國人》中出版……”
The original article states: “Matthew Tai is a Ningpo artist about forty-five years of age. Some twenty-five years ago he made, at the request of his friend Sing Engteh, now a Christian Presbyter, but then, like himself, an artist, some clever sketches of Chinese trades and occupations, afterwards published by the Rev. R. Cobbold in his ‘Pictures of the Chinese, drawn by themselves’ ...”
很巧合的是，為慕雅德《年輕的中國》（1908年出版）一書畫插圖的也是這位“戴馬太”。根據(jù)他在插圖上的落款，可知他也叫戴恩泉，別號癡道人，“馬太”應(yīng)是他的教名，作畫時75歲。
Coincidentally, the artist who provided the illustrations for Arthur Evans Moule’s book Young China (published in 1908) was also “Matthew Tai”. His signature on the illustrations reveals that he was also known as Dai Enquan, with the alias “Idiot Taoist,” while “Matthew” was presumably his Christian name. At the time of creating the artwork, he was 75 years old.
《年輕的中國》插圖“踢燕子”右上角有畫家落款，從而可以知道他的姓名。
In the illustration "Kicking Swallows" from Young China, there is the painter's signature in the upper right corner, through which his name can be identified.
慕雅德在《年輕的中國》文末介紹這位藝術(shù)家說，他生前在茶館里演奏琵琶為生，給人作畫賺點(diǎn)小錢，在76歲時去世。
Arthur Moule concluded Young China by introducing the artist, noting that he made his living partly by playing the lute in wine- and tea-shops, and partly by using his skill in drawing pictures to be worshipped before he died at the age of 76.
綜合各種材料，可推知戴恩泉出生于1830年前后，是一位正史不載的寧波民間藝術(shù)家。
By synthesizing all kinds of materials, it can be deduced that Dai Enquan was born around 1830 and was a Ningbo folk artist who was not recorded in the official history.
來源：寧波晚報、寧波發(fā)布
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