影子之城：三星堆故鄉(xiāng)的浮生百態(tài)

楊沁

2021年3月，考古人員在四川廣漢三星堆遺址新發(fā)現(xiàn)的6座 “祭祀坑”中出土了500余件重要文物，包括黃金面具殘片、青銅神樹、象牙等。當(dāng)這些造型瑰麗、風(fēng)格奇特，蘊含著對宇宙的浪漫想象的文物展示在公眾面前時，人們不僅從中看到明朗閃耀的古蜀文明之光，也對中華文明的多元性和包容性有了更大的認識空間。而三星堆遺址所在的小城——四川省廣漢市，也吸引了眾多目光。

我自幼生長在這座成都平原東北部的小城，少時，并不覺得自己的家鄉(xiāng)有何特殊之處。彼時，三星堆雖然已經(jīng)“沉睡三千年，一醒驚天下”，但普通人關(guān)注的，還是衣食住行這些日常瑣事。只有在一些不經(jīng)意偶遇的瞬間，還能從小城的細節(jié)里捕捉到些許歷史的痕跡。比如城中心立有一座古城門，上面有一個古意盎然的“雒”字，廣漢古稱雒縣，縣治在雒城，自古便是成都的門戶?！度龂萘x》中，龐統(tǒng)率軍攻取雒城，途中在落鳳坡遭遇埋伏，中箭身亡。而城門后面的房湖公園，亦有一段故事。何謂房湖？乃因唐朝宰相房琯貶黜于此建湖而得名。房琯引來了粼粼波光，也帶來了詩文雅興，杜甫流落成都期間曾前來雒城拜訪故友，兩人坐在湖邊，飲酒對詩。

到民國年間，廣漢出了一位顯赫人物：榮膺國民政府首任考試院院長戴季陶。1941年，正值抗日戰(zhàn)爭膠著之際，戴季陶倡導(dǎo)編纂廣漢縣志。此時，中央研究院史語所從昆明內(nèi)遷至四川李莊，當(dāng)時私人興辦的研究中國傳統(tǒng)營造學(xué)的學(xué)術(shù)團體——營造學(xué)社正苦于無力進行大規(guī)模古建筑調(diào)查，營造學(xué)社的兩位建筑專家梁思成、劉致平便受托前往廣漢，為這座古城留下了一套包含560張照片的完整影像。當(dāng)代作家蕭易在系統(tǒng)整理這些照片的基礎(chǔ)上，加上文字注解，遂成《影子之城》。

透視整個20世紀，中國的城市面貌在家國命運的跌宕中經(jīng)歷了急遽的翻轉(zhuǎn)和蛻變。西方文化的沖擊催生出對現(xiàn)代化的熱切崇拜，加上戰(zhàn)爭和運動的破壞，傳統(tǒng)建筑迅速消亡，誠如梁思成所言：“純中國式之秀美或壯偉的舊市容，或破壞無遺，或僅存大略?！钡懦菑V漢的幸運在于，在梁思成留下的照片里，它的建筑樣貌和人情百態(tài)都得以保存了下來，古老縣城的雕梁畫棟、飛檐翹角都在影像中凝結(jié)為永恒的存在。

城墻環(huán)繞城池，文廟祭祀孔子、魁星閣供奉魁星，各省會館各自彰顯其地域特色，宗祠里布滿家族的秩序和記憶……這些古中國每座城市必不可少的空間，都在影像與文字的交融中一一復(fù)原。更加重要的是，作者在詮釋這些影像時雖以建筑為中心，卻能自在穿梭于各種傳說、史實、典故、民俗中，旁征博引，如數(shù)家珍。譬如講到廣漢文廟，作者不僅一步一景地細數(shù)這座古建筑的精細與巧妙，更能從歷史角度梳理出文廟的起源與沿革：從魯哀公紀念孔子到漢高祖劉邦開帝王祭孔先河，從唐太宗詔令“廟學(xué)一體”到清代確定文廟布局。在建筑的演變之外，還鉤沉出官學(xué)的發(fā)展脈絡(luò)，從而見微知著，在文廟這方小小天地中勾勒出儒家文化在城市空間中的印跡?？梢哉f，這本書不僅包含建筑，還有中國文化史的意義。

建筑固然精妙，賦予其情致的還是周圍的人群。透過一張張沉默無言的黑白影像，一座城池漸漸發(fā)出穿越時光的聲響。重檐歇山頂門樓內(nèi)，戴斗笠的農(nóng)民剛剛與挑布匹的貨郎擦肩而過;白發(fā)蒼蒼的老者正在屋檐下晾曬衣服;鐘鼓樓底層的戲臺傳出咿咿呀呀的唱念做打之聲。而城隍廟山門“白色的石灰墻被灰塵與世間染得黢黑，雕花柱礎(chǔ)上的圖案早已模糊不清，一株枝繁葉茂的泡桐樹爬上了彎曲的風(fēng)火墻……蒸著粉蒸肥腸、粉蒸牛肉，光著膀子的攤主正撥弄著土炕的柴火”，這樣溫?zé)岬氖浪咨顖雒嬷两袢匀豢梢栽谥腥A大地上找到對應(yīng)的圖景。這座“影子之城”是一座仍然活著而熱氣騰騰的城市。

對我而言，書中的地名都有特殊的意味。花市街、米市街、梓潼街、書院街、松林鎮(zhèn)、南豐鎮(zhèn)……每當(dāng)看到這些兒時便耳熟能詳?shù)拿?，我都忍不住心中一動，埋藏在記憶深處的風(fēng)景像一盞又一盞的漁火相繼亮起來，星星點點，此起彼伏，連成一片。而我相信，即使與廣漢從未有過現(xiàn)實交集的讀者，也會在閱讀中產(chǎn)生這樣“心動”的時刻，這些地名可以置換成任何讀者熟悉的名字，這種煙火氣是融入每個中國人的血液里的，象征著動蕩人生中難得的安穩(wěn)和美好，這些熟悉、親切、宛如父輩鄰人的面孔會通往每個人心中隱秘的故土之思。

書中講人世之處富有世態(tài)之美，講神仙之處也不是凌空虛蹈，而是重視他們與人的來往，似乎神仙也和人在宗教的崇拜之外，建立了某種世俗關(guān)系。

例如，魁星閣中供奉的魁星“一手持筆，一手提烏紗帽，其他地方的魁星持的則是毛筆與墨斗，廣漢人對功名的渴望似乎來得更為直接”，令人莞爾。不過隨著科舉制度廢除，這位坦率可愛的魁星漸漸失寵，“往者熙來攘往，今日門可羅雀，1941年的魁星，似乎猶能體會人情冷暖。20世紀50年代，魁星閣被拆除，失去了容身之所，那尊憨厚的魁星下落不明”，又讓人遺憾不已。再者，1965年，龍興寺的木材、磚瓦被悉數(shù)拆掉，五百羅漢沒了棲身之所，“終日日曬雨淋，生出青苔，爬上雜草，眉目也日漸模糊”。其后，“五百羅漢泥塑的身軀被砸成碎塊……身軀里的木頭架子，被周圍的百姓撿起來，當(dāng)成燒飯的柴火。五百羅漢就這樣歸為塵土，化作青煙”。

20世紀中國社會的變遷，都在神仙的遭遇里盡數(shù)呈現(xiàn)。讀至這些章節(jié)，讀者忍不住要為神仙發(fā)一聲慨嘆，神仙亦有無計可施、自身難保之時，甚至在人世沉浮中更加柔弱。好在，神靈會再次降臨到恢復(fù)理性的人們中。作者考察迄今廣漢保存最好的祠堂益蘭祠時，發(fā)現(xiàn)老君觀已遷至此處?！皬埵霞易宓墓适?，在煙霧繚繞的香火中隱約可見?！边@一句寫得甚有神韻，渡盡劫波，人與神之間似乎不再有上下之分，而似兄弟舊友，重新建立了親密無間的關(guān)系。

今天，我們捧起《影子之城》時不禁感慨，與其說營造學(xué)社當(dāng)年留下了廣漢的面貌，不如說以一縣為范本，留下了古老的中國縣城的縮影，以及隱藏在建筑背后的人與城市的互動。中國人對世俗生活的珍惜、對人倫禮法的重視、對威儀信仰的敬畏，都在建筑的訴說中一一鋪展。“影子”既是時間意義上的重疊：1941年的廣漢與當(dāng)下的廣漢在影像中相遇，通過這個承襲歷史的時代，我們能更好地理解當(dāng)下“三星堆的故鄉(xiāng)”;也是空間意義上的交錯：它是古老中國城市的影子，所有的城市都能在這里找到共鳴。

A City of Shadows： Life in the Hometown of Sanxingdui

By Yang Qin

Archaeologists found six new sacrificial pits and uncovered over 500 cultural relics dating back about 3，000 years at the Sanxingdui Ruins in Sichuan province in March 2021. Artefacts including gold masks， gold foil， bronze masks， bronze trees have since been unveiled to the public. These rare and dazzling items with ancient imaginations about the universe once again showed the distinctiveness and creativity of the Shu culture， and， more importantly， the diversity and inclusiveness of the Chinese civilization. Naturally， the city where these pieces were discovered has again been put into spotlight.

Growing up in Guanghan， a small county-level city located in the northeast of Chengdu Plains， I never found my hometown special when I was young， even though the Sanxingdui Ruins， a major Bronze Age culture lying dormant for over 3，000 years， had already stunned the world and the city was pretty well-known. Local people just went about their business as usual， and occasionally some traces of the past can be found. Even notable historical figures are few and far between.

During the Three Kingdoms period （220-280）， Pang Tong （179-214）， an advisor and military strategist to Liu Bei （161-223）， founder of the state of Shu Han （221-263）， was said to have been shot dead here. Fang Guan （697-763）， a chancellor in the Tang dynasty （618-907）， once lived in the city when he was demoted to serve as the local prefect， and Du Fu （712-770）， a close friend of Fangs， visited Fang after he also fell out of favor with the emperor.

Into the Republican years， an influential figure of Guanghans own was finally born. The Guanghan native Dai Jitao （or Tai Chi-tao） became the first head of Examination Yuan of the Republican government. In 1941， when Chinas resistance war against Japan was waging on， Dai called for the compilation of Guanghans annals， especially photographing the citys architecture as its ancient buildings were fast disappearing at the time. Liang Sicheng （1901-1972） and Liu Zhiping （1909-1995）， two of the foremost architects from the Society for the Study of Chinese Architecture， were drafted for the job. The result？ A total of 560 photos detailing Guanghan. Based on these photos， with further annotations， Xiao Yi has now written and published the book A City of Shadows： Liang Sicheng and Guanghan in 1939-1941.

Throughout the 20th century， the faces of Chinese cities underwent unprecedented changes amid Chinas ups and downs. The undue glorification of modernization， a result of the dramatic impact of the Western culture， coupled with wars and political movements， all but destroyed Chinas traditional architecture. As Liang Sicheng once lamented： “The old cities in pure Chinese-style beauty or grandeur either have been completely demolished or have only the skeletons left.” Fortunately for Guanghan， the citys old architecture and even folk customs have been preserved through Liang Sichengs photos， its past immortalized in these precious pictures.

Walls and moats around square-like city， the Confucian Temple， the Kuixing （God of Literature） Pavilion， the Assembly Halls of different provinces with distinct regional features， and the ancestral halls…each and every essential element of an ancient Chinese city has been restored in Xiao Yis book through photos and words. More crucially， while the authors annotations on the photos focus on architecture， rich details， including legends， historical facts， classical allusions， folklores， have been expertly interwoven into the text. For example， when writing the Confucian Temple in Guanghan， the author dwells not only on the merits of the temple itself， but also delves into the evolution of the Confucian Temple throughout Chinese history： how the Duke Ai of Lu during the Spring and Autumn period was the first ruler to commemorate Confucius， how the founder of the Han dynasty was the first emperor to hold the memorial ceremony for Confucius， and how the architectural layout of the Confucian Temple was fixed in the Qing dynasty.

It is more than a book of architecture; to some extent， it is also a book of Chinese cultural history.

Ultimately， it is people that have made these exquisite buildings come alive. Under the city gate with a double-eave hip-and-gable roof， a farmer in a bamboo hat was brushing past an itinerant peddler shouldering pieces of cloth. A gray-headed old man was drying out clothes under the eaves. A local opera was playing on the stage at the bottom of the Bell and Drum Tower… In those silent black-and-white photos， the noise and din of the colorful city life seem reverberating.

To me， the book， and the names of the places in the book， lends a personal touch. Huashi Street （Flower Market Street）， Mishi Street （Rice Market Street）， Shuyuan Street （Academy Street）…whenever these familiar names appear in the book， they tug at my heartstrings， memories buried deep in my mind popping up like fishermens lights at night. Even for those readers who have never set foot in Guanghan， I believe they would have similar emotions， for this is the epitome of a peaceful and happy Chinese life， transposable to any city or town in China.

Now， as we read A City of Shadows， we may well say that what Liang Sicheng and Liu Zhiping left behind is not merely what the architecture of Guanghan used to look like; it is more an embodiment of ancient Chinese cities and the interactions between man and cities hidden in these ancient buildings. The shadows are overlaps between Guanghan in 1941 and Guanghan right now; they are also the shadows of old Chinese cities， from which all of their modern reincarnations can find resonance.