百件寶藏述五千年故事

川慧子

這里仿佛是一座氣勢(shì)恢宏的歷史劇場(chǎng)，遠(yuǎn)古的傳說(shuō)、震撼的史劇、永恒的傳奇，都會(huì)在此循環(huán)上演——6月8日至10月8日，浙江省博物館年度重點(diǎn)展覽“越地寶藏——100件文物講述浙江故事”在浙江西湖美術(shù)館亮相。這些文物精品，來(lái)自全省39家文博機(jī)構(gòu)，數(shù)量之多、規(guī)格之高、種類之豐富，在浙江省可謂空前。

你可知道，浙江境內(nèi)的人類活動(dòng)，至遲可以追溯到100萬(wàn)年前的舊石器時(shí)代晚期。從距今1萬(wàn)年起，錢塘江兩岸先后進(jìn)入新石器時(shí)代。燦爛的良渚文化點(diǎn)亮了中華五千年文明的輝煌；兩千多年前勇敢的古越人精勤耕戰(zhàn)，以其特有的生存方式活躍在這片熱土上，形成了有別于中原的獨(dú)特文化；勤勞的匠人們用巧手創(chuàng)造出典雅精致的瓷器，開(kāi)創(chuàng)出一條海上瓷路；吳越國(guó)“善事中國(guó)，保境安民”的政策為兩宋浙江經(jīng)濟(jì)的高度發(fā)達(dá)奠定了基礎(chǔ)；“四方仰之為師”的南宋都城，繁盛富庶；明清時(shí)期，浙江更是成為吸引無(wú)數(shù)文人墨客的詩(shī)畫(huà)勝地、人文淵藪。

展覽對(duì)應(yīng)“走出蒙昧”“精勤耕戰(zhàn)”“陶瓷之路”“梵音聲聲”“武林舊事”“走向自省”六個(gè)單元，為觀眾呈現(xiàn)出浙江大地上精彩的歷史印跡與獨(dú)特的地域文化。

這六部分內(nèi)容，雖看似獨(dú)立，相互間卻有著千絲萬(wàn)縷的關(guān)聯(lián)。歷史為脈，文物為線，從史前到明清，宛如穿越時(shí)空隧道，為你展示浙江自古發(fā)展與傳承下來(lái)的燦爛文明。

2018年的夏天，屬于浙江的故事，就讓這百件文物講給你聽(tīng)！

代表權(quán)力的良渚玉器

農(nóng)業(yè)生產(chǎn)帶來(lái)了財(cái)富積累和人口大幅增長(zhǎng)，同時(shí)也帶來(lái)了矛盾沖突。部族內(nèi)部的地位差異與部族之間的暴力沖突促進(jìn)了社會(huì)財(cái)富再分配，并由此加劇了階層分化與部落整合，逐漸形成了金字塔型的社會(huì)結(jié)構(gòu)和規(guī)范化的禮制。宗教是整合人力的高效手段，在信仰的催化下，更多的人團(tuán)結(jié)在一起，逐步聚合成部落、酋邦以至國(guó)家。良渚文化就是在這個(gè)過(guò)程中凸顯出來(lái)的獨(dú)特文明。

玉禮器是良渚文化最顯赫的表征之一，其數(shù)量之多、種類之豐富，尤其是在功用上所顯示出來(lái)的復(fù)雜性和全面性，在同時(shí)期考古文化中是絕無(wú)僅有的。

展覽中呈現(xiàn)了一組玉琮、玉鉞、玉璧，分別代表了神權(quán)、軍權(quán)、財(cái)權(quán)結(jié)為一體的國(guó)家雛形的政治背景和政治制度。

雖然良渚文明在延續(xù)近千年后突然消失，但從殷墟、金沙等重要遺址中所發(fā)現(xiàn)的玉琮的蹤跡可以得知，直到商周，良渚人所開(kāi)創(chuàng)的玉禮器仍然流傳在各地，他們的思想意識(shí)在后代的傳統(tǒng)中依舊閃爍著智慧的光芒。

精勤耕戰(zhàn)的古越人

春秋戰(zhàn)國(guó)，當(dāng)中原開(kāi)始呈現(xiàn)中央帝國(guó)的顯赫時(shí)，越地在中土君子眼里不過(guò)是一個(gè)荒蠻偏僻的東南小國(guó)。然而，生活在這片土地上的古越人卻以質(zhì)樸悍勇的個(gè)性、務(wù)實(shí)拼搏的精神，忍辱負(fù)重，在逆境中自強(qiáng)不息、發(fā)展生產(chǎn)、迅速崛起，從困頓走向強(qiáng)盛。

“斷發(fā)文身”的青銅鳩杖清晰刻畫(huà)了兩千多年前古越人形象；“習(xí)水便舟”的羽人劃舟銅鉞告訴我們古越人的生活環(huán)境；紹興306號(hào)墓出土的青銅器則是徐人（上古時(shí)代現(xiàn)江浙一帶存在著兩個(gè)文化圈，即淮河以北以徐國(guó)為中心的徐文化圈，江南以吳國(guó)為中心的吳文化圈）進(jìn)入越地的史證，其中便包括浙江省博物館的鎮(zhèn)館之寶：伎樂(lè)銅屋。

還有劍中之極品、稀世之珍寶，浙江省博物館另一件鎮(zhèn)館之寶：越王者旨於睗劍。

當(dāng)中原國(guó)家大規(guī)模鑄造精美的青銅禮器祭祀神明時(shí)，古越人卻用珍貴的青銅材料制造農(nóng)具和兵器，務(wù)實(shí)勤懇地發(fā)展經(jīng)濟(jì)、加強(qiáng)軍備。這把劍在體現(xiàn)越國(guó)高水平鑄造技藝的同時(shí)，也折射出古越人精勤耕戰(zhàn)的精神。

浙江瓷業(yè)的貿(mào)易之路

浙江是中國(guó)瓷器的發(fā)源地。唐代以后，浙江瓷業(yè)飛速發(fā)展，晚唐至北宋初期，越窯步入輝煌時(shí)期，“九秋風(fēng)露越窯開(kāi)，奪得千峰翠色來(lái)”，描繪的就是當(dāng)時(shí)的燒瓷盛景。宋元時(shí)，龍泉窯異軍突起，燒瓷工藝得到進(jìn)一步創(chuàng)新，燒造出粉青和梅子青釉，瑩潤(rùn)如玉。

從唐朝開(kāi)始，浙江青瓷通過(guò)海路大批銷往域外，宋元時(shí)達(dá)到鼎盛，成為浙江海外貿(mào)易的重要支柱。1976年，在韓國(guó)新安海底發(fā)現(xiàn)一條中國(guó)沉船，裝有各類物品兩萬(wàn)兩千多件，其中瓷器20681件，而龍泉窯青瓷的數(shù)量約占一半。

陳展中所展示的幾件青瓷，皆為不同時(shí)期越地匠人們的巔峰之作?？粗@碧玉一般的色澤，便能理解為什么中國(guó)的瓷器可以遠(yuǎn)銷海外，深受異域人民喜愛(ài)。

承載美好夙愿的阿育王塔

五代時(shí)期，中原佛教呈式微之勢(shì)，唯東南一隅的吳越國(guó)佛法昌盛，建寺起塔，開(kāi)龕造像，刻經(jīng)造幢，留下了眾多佛教遺物遺跡。其中最負(fù)盛名的當(dāng)屬西子湖畔的雷峰塔。

雷峰塔是五代吳越國(guó)王錢俶為奉安原藏于吳越宮中的“佛螺髻發(fā)”而造的舍利塔，約在北宋開(kāi)寶四年（971年）開(kāi)始營(yíng)建，太平興國(guó)二年（977年）竣工。其間，趙匡胤討伐南唐，錢俶拒絕了南唐后主李煜的求援。南唐亡國(guó)后，吳越國(guó)唇亡齒寒。塔成之時(shí)，吳越國(guó)正處于風(fēng)雨飄搖的末期，但錢俶依然不改敬佛之心，傾其所有，供養(yǎng)佛陀。

展品中的鎏金銀阿育王塔即出自雷峰塔地宮，是錢俶專為雷峰塔特制。太平興國(guó)三年（978年），錢俶祭別錢镠陵廟，啟程赴開(kāi)封向北宋皇室納土獻(xiàn)地，為北宋和平統(tǒng)一作出了貢獻(xiàn)。

繁華都城的時(shí)代風(fēng)尚

南宋都城的繁華都記錄在《夢(mèng)粱錄》中?？脊虐l(fā)現(xiàn)，南宋金銀器皿的使用非常普遍。上自九重，下至中等以上之家，一般用器都是以金銀為主?！白钍枪傧锘ㄗ鳎燮娈愶w鸞走鳳，七寶珠翠，首飾花朵，冠梳及錦繡羅帛，銷金衣裙，描畫(huà)領(lǐng)抹，極其工巧，前所罕有者悉皆有之?！边@其中便提到了金銀首飾。

此次展出了湖州三天門南宋墓出土的一組金首飾。包括釵、耳環(huán)、鐲、戒指和帔墜，恰能看出南宋女性裝扮的時(shí)尚。其中，花筒釵是宋代流行的樣式，而鐲、戒指和帔墜又印證了《夢(mèng)粱錄》中記載的南宋婚俗：富貴人家準(zhǔn)備“三金”作為聘禮，即“金釧、金鋜、金帔墜”。

文人精英引領(lǐng)詩(shī)畫(huà)江南

元明清時(shí)期的江南，在藝術(shù)及思想方面展現(xiàn)了獨(dú)特的影響力，詩(shī)畫(huà)一般的自然環(huán)境與發(fā)達(dá)的市場(chǎng)基礎(chǔ)，令其成為吸引文人聚集的熱土。晚明浙東學(xué)者王守仁（別號(hào)陽(yáng)明）以良知之學(xué)創(chuàng)“陽(yáng)明學(xué)派”，對(duì)明清乃至整個(gè)中國(guó)近代思想文化產(chǎn)生重大的啟蒙作用。受“心學(xué)”影響，文人將心靈體驗(yàn)融入藝術(shù)創(chuàng)作，以筆墨抒發(fā)情懷，描畫(huà)出一幅幅動(dòng)人心弦的獨(dú)特畫(huà)卷。

本次展覽展出了余姚市文物保護(hù)管理所所藏的王陽(yáng)明楷書(shū)《客座私?！穬?cè)頁(yè)。1527年，王陽(yáng)明奉命離開(kāi)紹興，去廣西征討思恩、田州叛亂，臨走前將“陽(yáng)明書(shū)院”的事務(wù)交給門人管理，并寫下了這幅作品，要求掛在廳堂，告誡弟子們刻苦學(xué)習(xí)，每日向善。兩年后，王陽(yáng)明平定了叛亂，因肺病加重告老還鄉(xiāng)，卻在回來(lái)的路上病逝。

何為心學(xué)？簡(jiǎn)單說(shuō)來(lái)，在心學(xué)之前一統(tǒng)天下的是程朱理學(xué)提倡的“格物致知”，即真理存在于萬(wàn)事萬(wàn)物之中。心學(xué)則反這種傳統(tǒng)之說(shuō)，認(rèn)為尋求真理要回到自己的內(nèi)心，每個(gè)人的內(nèi)心都有一套完整的終極真理，這就是回歸內(nèi)心的“致良知”。王陽(yáng)明的思想產(chǎn)生了巨大反響，曾國(guó)藩曾評(píng)價(jià)說(shuō)，“王陽(yáng)明矯正舊風(fēng)氣，開(kāi)出新風(fēng)氣，功不在禹下”。

越地寶藏，嘆為觀止！

穿越時(shí)空，漫步展廳，從史前到明清，或驚心動(dòng)魄，或人文詩(shī)畫(huà)……你會(huì)發(fā)現(xiàn)“越地寶藏”展覽中的每一組（件）文物，都對(duì)應(yīng)著一段浙江的歷史文化。如果把整個(gè)浙江歷史比作一場(chǎng)精彩、完整的演出，那么這些文物所對(duì)應(yīng)的歷史故事便是其中一出出精彩的“折子戲”。

A stunning set of 100 objects on display at the Zhejiang West Lake Art Museum in Hangzhou takes the visitor on a hypnotizing trip back through time. The modern fa?ade peels away quickly as you confront the evidence of those who lived in this same area as far back in the Paleolithic Age. The 100 exhibits on display at the four-month exhibition held in Hangzhou from June 8 to October 8 were selected from 39 cultural organizations across Zhejiang Province. Behind every exhibit is a magnificent chapter of the history of Zhejiang.

Jade and Liangzhu Culture

The Liangzhu Culture was the last Neolithic jade culture in the Yangtze River Delta of China. The culture was highly stratified， as jade， silk， ivory and lacquer artifacts were found exclusively in elite burials， while pottery was more commonly found in the burial plots of poorer individuals. This division of class indicates that the Liangzhu Period was an early state， symbolized by the clear distinction drawn between social classes in funeral structures. The typical site of this highly influential culture was discovered in Yuhang County， Zhejiang Province.

The jade from this culture is characterized by finely worked large ritual jades， commonly incised with the motif. The most exemplary artifacts from the culture were its . Most of Liangzhus contemporaries had some jades， but 90 per cent of all the cong and jades recovered， and by far the best in quality， are from Liangzhu sites. Jade artifacts unearthed from Liangzhu sites are said to have been influential on the development of other Neolithic cultures in China.

The jade artifacts exhibited， used by the Liangzhu people as symbols for the divine rights， military power and property ownership， reflect the political regime of a nation that was taking shape.

The Rise of Yue People

When the Central Plains was reaching its imperial grandeur in the Spring and Autumn and Warring State Period （770-221BC）， todays Shaoxing was still a seemingly uncivilized corner shunned by the ruling class. However， people living in this forgotten region built their homeland into a world of opulence and enduring prosperity through stunning determination， diligence and courage.

Many of the exhibits， such as a bronze turtle-dove rod and a bronze battle axe， vividly show the hard work of the Yue people living in todays Shaoxing about 2，000 years ago and their lifestyle as well as totemism. One of the bronze artworks excavated from the No.306 tomb site in Shaoxing is a physical evidence of the fusion of two sub-cultures in todays Zhejiang in ancient times.

When people living in the Central Plains were busy making bronze sacrificial offerings， the Yue people were inventing bronze farm tools and weapons. The timeless artistry of a bronze sword made for Shiyu， the son of Goujian （the king of the Kingdom of Yue near the end of the Spring and Autumn period）， can be savored by todays people at the Zhejiang Museum.

The “Secret Color”

Zhejiang Province is the seedbed of porcelain craftsmanship. The heyday of the porcelain industry of the province started from the Tang Dynasty （618-907） and reached its climax in the early years of Northern Song （960-1127）. The Song and Yuan （1279-1368） times saw the rise of the Longquan kilns in southwestern Zhejiang， where the “secret color” of Longquan celadon was born.

The Tang Dynasty saw the celadon artifacts from Longquan crossing the ocean and finding their way into the royal palaces and the living room of aristocratic families in foreign lands. Porcelain became a major contributor of the foreign trade of Zhejiang in the Song and Yuan times. Nearly half of the 20，681 porcelain pieces in a sunken boat found in South Korea in 1976 fall into the Longquan celadon category.

The celadon pieces displayed at the exhibition represent the supreme artistry of artisans from Zhejiang Province. Take a look at the emerald green lust of the artifacts and youll understand why the “secret color” was loved by people all over the world.

Leifeng Pagoda and Asoka Tower

The Five Dynasties， an era of political upheaval in 10th-century China， saw the fall of Buddhism in Central Plains. The state of Wuyue （907-978）， exercising sovereignty in the southeast of the country， became a paradise for Buddhism. The Leifeng Pagoda， a five-story structure built of brick and wood， is the most famous Buddhism legacy from the Wuyue times.

The original pagoda was built in 977 AD at the order of King Qian Chu of Wuyue as a stupa. Construction started in 971. By the time the construction was completed， the State of Wuyue was swaying towards its demise. By that time， Zhao Kuangying had conquered the state of Southern Tang and was only a step away from reunifying most of China proper and effectively ending the tumultuous Five Dynasties and Ten Kingdoms period. However， the Buddhism faith of King Qian Chu remained strong despite such political turbulence.

The miniaturized gilt & silver Asoka tower displayed at the exhibition was made especially for the Leifeng Pagoda at the order of Qian Chu. In 978， Qian Chu yielded to his fate， setting off on his journey to the north， where the younger brother of Zhao Kuangying awaited to acknowledge Qians submission that took a bit longer than the others to arrive.

Womens Fashion of Southern Song

The prosperity of Linan （todays Hangzhou）， the capital of Southern Song （1127-1279）， is vividly illustrated in ， written by Wu Zimu after the dynasty crashed. Archeological findings show gold and silver utensils and jewelry were commonplace in the capital city. The exhibition displayed a set of gold ornaments including hairpins， earrings， bracelets， finger rings and embroidered cape pendants， excavated from the Santianmen site in Huzhou City. The ornaments show the womens fashion in the Southern Song times and serve as convincing physical evidence for the wedding custom at that time.

The Cultural Elites of Jiangnan

The “Jiangnan” region in the Yuan and Ming times of China fostered an elite group of artists and men of letters whose impact on the Chinese culture is unrivalled. The vignette of such influence is Wang Yangming and his philosophy.

Wang Yangming served as an executive assistant in various government departments until he was banished for offending a eunuch in 1506； and in 1519， he was sent out to crack down on the Prince of Ning who launched a rebellion against the central government. Wang miraculously outwitted and defeated the prince. At the age of seventeen， Wang had a conversation with a Taoist priest that left him deeply intrigued with this alternative philosophical system and way of life.

， written by the philosopher before he left Shaoxing in 1527， was one of the highlights of the exhibition. Wang died of an illness on his way home two years later. In the eye of Zeng Guofan， a key minister of the Qing Dynasty （1644-1911）， the contribution of Wang Yangming to the ideological evolution of China “rivals that of Yu the Great”.

Wang Yangming is commonly regarded as the most important Neo-Confucian thinker after Zhu Xi， with interpretations of Confucianism that denied the rationalist dualism of Zhus orthodox philosophy. A core concept of the Yangming School is the dictating power of mind. It is not the world that shapes the mind， he argued， but the mind that gives reason to the world. In other words， the mind alone is the source of all reason.