南宋文化與東錢(qián)湖石刻

劉平平

2001年6月25日，國(guó)務(wù)院公布了第五批全國(guó)重點(diǎn)文物保護(hù)單位文件（國(guó)發(fā)（2001）25號(hào)），號(hào)稱(chēng)“江南兵馬俑”的東錢(qián)湖南宋石刻榜上有名，從而為其增添了一項(xiàng)全國(guó)最高等級(jí)的文物保護(hù)政策。這是繼1976年鄞縣人民政府對(duì)東錢(qián)湖區(qū)域發(fā)現(xiàn)的大量石刻進(jìn)行田野調(diào)查、1982年公布為縣級(jí)文物保護(hù)單位、1997年浙江省人民政府把東錢(qián)湖南宋石刻公布其為省級(jí)重點(diǎn)文物保護(hù)單位后的最新文物保護(hù)舉措。在這個(gè)名不見(jiàn)經(jīng)傳的東錢(qián)湖畔，怎么會(huì)出現(xiàn)這樣大數(shù)量的高等級(jí)歷史文物呢？帶著這個(gè)疑問(wèn)，我們踏上了去東錢(qián)湖的“尋寶”之路。

東錢(qián)湖位于寧波市東南面，距市區(qū)約十五公里，系浙江省最大的天然淡水湖。郭沫若先生曾稱(chēng)譽(yù)東錢(qián)湖為“太湖氣魄 西子風(fēng)韻”。

東錢(qián)湖周邊群山映翠，八十一山嶺環(huán)抱，七十二溪水流注，湖面煙波浩渺，七堰九塘環(huán)布四周，因山生水，天水相繞，似一幅潑墨山水畫(huà)，讓人情怡心舒。

南宋石刻公園是我們此行的主要目的地。它位于東錢(qián)湖上水下莊黃梅山麓，公園的廣場(chǎng)柱子上鐫刻著一副氣勢(shì)浩大的對(duì)聯(lián)“北有秦陵兵馬俑 南有南宋石刻群”，讓人不禁遐想，這個(gè)“江南兵馬俑”到底是個(gè)什么樣的存在呢？

1993年12月初，來(lái)自全省各地的一些宋史、考古、美術(shù)等方面的專(zhuān)家齊聚東錢(qián)湖，對(duì)在此發(fā)現(xiàn)的大量墓室神道儀仗石刻進(jìn)行了認(rèn)真細(xì)致的專(zhuān)業(yè)考察和鑒定，經(jīng)過(guò)反復(fù)比較和檢驗(yàn)，最終確認(rèn)這些石刻多數(shù)是屬于距今近800年的南宋時(shí)期的石作物。在此之前，大家都認(rèn)為南宋墓室神道儀仗石刻極少，長(zhǎng)江以南更是罕見(jiàn)。東錢(qián)湖畔發(fā)現(xiàn)的這些南宋石刻，是我國(guó)目前唯一發(fā)現(xiàn)的南宋時(shí)期規(guī)模最大、數(shù)量最多、保存最全、雕刻最精的神道石刻，是南宋文化留在寧波的濃重歷史遺跡，它填補(bǔ)了我國(guó)南宋時(shí)期文物考古史、美術(shù)史、服裝服飾史、雕刻藝術(shù)史的研究空白。

東錢(qián)湖發(fā)現(xiàn)的南宋石構(gòu)件由兩大類(lèi)組成：1.石構(gòu)建筑;2.石雕群像。石構(gòu)建筑主要由石享殿、石享亭、石牌坊、石椅子、石筍、石鼓等組成;石雕群像主要由文臣、武將、立馬、蹲虎、跪羊等組成。石雕群像在石作行業(yè)里屬于花石作，東錢(qián)湖南宋石雕像的特點(diǎn)在于：造型端莊、體量適度、表情含蓄、形象生動(dòng)、內(nèi)涵豐富。南宋石刻公園內(nèi)安置著南宋石刻百余具，占整個(gè)東錢(qián)湖區(qū)域已發(fā)現(xiàn)的南宋石刻數(shù)的約二分之一，園內(nèi)還基本完整地保留著兩個(gè)南宋古墓室，均系全國(guó)重點(diǎn)文物保護(hù)單位，分別為史漸墓（太師齊國(guó)公、參知政事）和史涓墓（中散大夫）。

石刻最早是遠(yuǎn)古人類(lèi)的文明記憶承載體，石作文化作為一種文化形態(tài)，以石造物為具體載體來(lái)反映某個(gè)歷史時(shí)期的思想意識(shí)、藝術(shù)認(rèn)知、時(shí)代特征、制作工藝等，極具可信度和歷史價(jià)值，它對(duì)南宋王朝某些具體規(guī)制和意識(shí)形態(tài)及藝術(shù)構(gòu)思風(fēng)格進(jìn)行了系統(tǒng)的形象記錄，佐證和豐富了當(dāng)時(shí)的歷史文化資料。

我們對(duì)這些石雕群像進(jìn)行了仔細(xì)探索和全面研究，知悉那些石雕像背后的文化含義，文臣、武將、立馬、蹲虎、跪羊，分別代表著“忠、勇、義、節(jié)、孝”。南宋王朝實(shí)行的是抑武揚(yáng)文、文人治國(guó)的理政體系，朝廷有意識(shí)地壓制軍人對(duì)施政體的作用，并對(duì)軍隊(duì)進(jìn)行嚴(yán)格的控制。有句話叫“軍無(wú)常將，將無(wú)常兵”，平時(shí)朝廷把軍隊(duì)的高級(jí)將領(lǐng)與兵卒分割開(kāi)來(lái)，再加上軍隊(duì)缺乏最主要的作戰(zhàn)裝備——戰(zhàn)馬，導(dǎo)致軍隊(duì)無(wú)法發(fā)揮最佳的戰(zhàn)斗效能，國(guó)家常年經(jīng)受外侵困擾，影響國(guó)力強(qiáng)盛。所以墓室神道儀仗石刻的設(shè)置中，文臣立首位。朝廷明文規(guī)定，同等官職的文武官員相遇，武官必須先向文臣行禮。神道石刻的文臣給它輔予一個(gè)“忠”的含義，寓意對(duì)朝廷和皇帝忠誠(chéng);武將的含義是“勇”，寓意保家衛(wèi)國(guó)，勇猛善戰(zhàn)。立馬的含義是“義”，引用我國(guó)傳統(tǒng)文化中“馬有垂韁之義，狗有濕地之舉”的義馬垂韁救主典故。蹲虎的含義是“節(jié)”，宋人曾觀察到，自然界虎死而不倒，謂此山中之王，臨死時(shí)尚能保持王者之氣節(jié)。跪羊的含義是“孝”，宋人對(duì)自然之觀察尤為細(xì)致，他們發(fā)現(xiàn)自然界有兩種動(dòng)物蘊(yùn)含人間之節(jié)孝大義，一是烏鴉，小鴉覓食反哺窩里老鴉，謂之“烏鴉反哺”;另一種則是羔羊跪吸母乳，寓意對(duì)母親的敬愛(ài)和體恤。

另一方面，我們也對(duì)石雕的紋樣裝飾進(jìn)行了一定程度的對(duì)比研究，可以推斷各類(lèi)石刻的衣飾紋樣在不同時(shí)期的演化發(fā)展?fàn)顩r。我國(guó)早在北宋時(shí)期就對(duì)建筑業(yè)的工程技術(shù)進(jìn)行規(guī)范，制訂了全世界最早的建筑行業(yè)規(guī)范性標(biāo)準(zhǔn)體系，著作有《營(yíng)造法式》。我們?cè)跂|錢(qián)湖南宋石刻的雕像上發(fā)現(xiàn)了十余種紋樣，在《營(yíng)造法式》中可以明確找出各種對(duì)應(yīng)標(biāo)示的吉祥圖案，如云紋、水波紋、寶相紋、卷草紋、幾何紋、纏枝紋、?；y、瑞獸紋、山石樹(shù)木紋等。再如文臣中的帽式、武將的胄甲、武器等裝飾配件與宋人史志記載和繪畫(huà)所表現(xiàn)的完全一致，精雕技藝精湛，幾組馬匹鬃毛雕刻細(xì)膩，皮下血管若隱若現(xiàn)，寫(xiě)實(shí)手法妙不可言。

言歸正傳，為什么在東錢(qián)湖畔會(huì)出現(xiàn)大量的南宋石刻？原來(lái)南宋時(shí)在東錢(qián)湖出了一個(gè)史氏家族，這個(gè)家族早在北宋時(shí)期就分別從江蘇、湖州等地遷移至明州（今寧波），其中第二代史成遷居至東錢(qián)湖下水，這個(gè)家族漁樵耕讀、辛勤勞動(dòng)的同時(shí)，讀書(shū)教學(xué)從不懈怠，南宋時(shí)族人史才進(jìn)入仕途，曾任職至參知政事（副宰相）高位，后從第四代史浩擔(dān)任宰相起，家勢(shì)日益興旺，整個(gè)家族出了三個(gè)宰相封二王，五個(gè)尚書(shū)，十一個(gè)公侯，十個(gè)男爵，七十二位進(jìn)士。歷經(jīng)宋高宗、宋孝宗、宋寧宗、宋理宗。宋史曾有記載“滿朝朱衣貴，凈是四明山”，寧波地方志記載曰“滿朝文武，半出史門(mén)”“北宋說(shuō)的是楊家將，南宋看的是史家相”。根據(jù)當(dāng)時(shí)宋朝規(guī)制，封侯入相，允許在其墓室神道兩旁設(shè)置儀仗石刻。

東錢(qián)湖是史氏家族的祖居地、發(fā)家地，雖然后面那些當(dāng)官的后人都遷入明州城內(nèi)月湖旁筑室造樓，但根據(jù)國(guó)人傳統(tǒng)習(xí)俗“葉落歸根”，所以都把身后歸宿地放到了東錢(qián)湖。至今我們發(fā)現(xiàn)在東錢(qián)湖畔的南宋古墓有五十余座，多數(shù)都屬史氏族人，前文介紹的在南宋石刻公園內(nèi)的兩座南宋古墓都姓史，史氏家族成員。

史浩、史彌遠(yuǎn)、史嵩之，這三位史姓宰相、史氏族人，活躍南宋朝廷五十余年，也給東錢(qián)湖遺留了不少地方文化資源，例如坐落在下水西村的“八行堂”，就是史氏家族的祠堂。其中，史氏先輩史詔奉行“孝、友、睦、姻、任、恤、中、和”八行義舉，驚動(dòng)民官，郡守薦舉，史詔固辭不赴，后屢薦不應(yīng)，宋徽宗賜號(hào)史詔為“八行高士”。據(jù)說(shuō)過(guò)去寧波人過(guò)中秋都在八月十六，比標(biāo)準(zhǔn)日子農(nóng)歷八月十五遲了一天，也是與史浩有關(guān)，一個(gè)人改變了一個(gè)地區(qū)的風(fēng)俗習(xí)慣，足可見(jiàn)史氏家族對(duì)當(dāng)?shù)匚幕?、民風(fēng)民俗的深遠(yuǎn)影響。

（作者系南宋石刻公園原負(fù)責(zé)人）

The Song Dynasty Culture and the Dongqian Lake Stone Carvings

By Liu Pingping

On June 25， 2001， Chinas State Council announced the fifth batch of “Major Historical and Cultural Site Protected at the National Level”， among which was the site of the Dongqian Lake stone carvings. The stone carvings， regarded as the “Terracotta Warriors of Jiangnan [South of the Yangtze River]”. The announcement was the latest cultural relics protection measure for the site. The Yinxian Peoples Government first ordered a field survey in 1976 after a large number of stone carvings were found in the Dongqian Lake area. In 1982， the site was made a county-level cultural relics protection site， before the Zhejiang Provincial Peoples Government designated it a key cultural relics protection site at the provincial level in 1997.

Why is it that in Dongqian Lake， a not-so-well-known place， were there such important historical relics in such a great quantity？ With this question， I set out “treasure hunting” around the Dongqian Lake.

Located in the southeast of Ningbo city， Dongqian Lake is about 15 kilometers away from the urban center. It is the largest natural freshwater lake in the province of Zhejiang. Guo Moruo， a leading Chinese author in the 20th century， once praised it as “similar in spirit to the Taihu Lake and as charming as the West Lake”. Indeed， surrounded by plenty of mountains， hills， rivers， dykes and embankments， the Dongqian Lake looks more like a traditional Chinese painting.

The Southern Song Stone Carving Park， as the site is now called， is my destination， situated at the Shangshuixia village on the side of Huangmei Mountain. Standing in the square of the park are the pillars， on which a couplet was engraved： “The North Has Terracotta Warriors; The South Has Southern Song Stone Carvings.”

In early December 1993， a team of experts on Song history， archaeology and arts from all over the province gathered in the Dongqian Lake area， and conducted a thorough and meticulous investigation on the many stone carvings and sculptures found in the ceremonial burial chamber here. After repeated comparison and appraisal， they determined that most of them were stone carvings of the Southern Song dynasty （1127-1279） dating back nearly 800 years.

Prior to the discovery， it was believed that stone carvings serving for the “sacred way” in the Southern Song tombs were rare， especially so in the Jiangnan region. They are now deemed the largest in scale， the best-preserved and the most exquisite sacred-way stone carvings of the Southern Song period. These relics are not only the physical imprint of the Southern Song culture in Ningbo; they have also filled the research gap on the archeology， art history， clothing history and sculpture history of the period.

The Dongqian Lake stone carvings comprise of two categories： stone architecture and stone statues. The stone architecture is composed of stone halls， stone pavilions， stone archways， stone chairs， stalagmites and stone drums， among others. The stone statues include those of scholar officials， military officers， standing horses， squatting tigers and kneeling sheep. In the Southern Song Stone Carving Park are 100 or so of these stone carvings， half of the total that have been discovered. Two well-preserved tombs — one belonging to Shi Jian （1124-1195） and the other belonging to Shi Juan （1120-1202）， both high-ranking officials of the Southern Song dynasty — are also in the park.

Stone carvings carry the memories of ancient human civilizations. Stone carving culture takes the shaping of stones to reflect the beliefs， artistic perceptions and production technologies of a certain period， which is of reliable historical value. The Southern Song stone carvings are no exception. They are a systematical record of some of its rules and customs， its ideology and artistic style.

The statues， for instance， hold important symbolic meaning. Scholar officials， military officers， standing horses， squatting tigers and kneeling sheep represent loyalty， bravery， righteousness， integrity and filial piety respectively. In the Southern Song， civil officials enjoyed a higher status than their military counterpart， as the imperial court deliberately suppressed the influence of the army. Therefore， statues of scholar officials were place in front of those of military officers in the tombs. For the animals， their designated symbolic traits were believed by the Song people to be closely related to their nature. For example， a lamb kneeling to suck its mothers milk showed respect to ones mother.

On the other hand， a comparative study on the patterns of the? stone carvings has shown their evolution and development throughout the Song dynasty （960-1279）. In the Northern Song period （960-1127）， China already issued the worlds first set of building standards titled Yingzao Fashi （Treatise on Architectural Methods or State Building Standards）. The 10-odd patterns on the Dongqian Lake stone carvings， such as clouds， water ripples， rocks and trees， can all be found in Yingzao Fashi， marked as auspicious patterns. The hat styles of civil officials， the armors and weapons of military officers seen on the stone statues are also completely consistent with historical records and paintings， and the carving skills were second to none.

Then again， why did they appear around the Dongqian Lake？ It is down to a notable local family， the Shi clan. Originally living in places like Jiangsu and Huzhou， they moved to and settled in Mingzhou （present-day Ningbo） during the Northern Song era. One of the second-generation settlers， Shi Cheng， came to Xiashui village around the Dongqian Lake， working hard on farming and fishing， and paying equal attention to family education. Later， Shi Cai （1083-1163） would become the first in the family to take up an official in the Southern Song court. Then， since Shi Hao （1106-1194） was appointed the chancellor of the state， members of the Shi family served in so many prominent government positions that it was said “of all the court officials， half are from the Shi family”.

As the “ancestral place” for the family， it was only natural that the Dongqian Lake area would be where these high-ranking officials would choose to retire and live the rest of their lives — “returning to the root”， as dictated by the Confucian traditions. During the process， they built houses and pavilions. It is no surprise， therefore， that the stone architecture， stone statues as well as some 50 tombs found near Dongqian Lake were mostly connected to members of the Shi family.