越地長(zhǎng)歌 聲聲不息

鄭夢(mèng)瑩

浩蕩的歷史長(zhǎng)河里，越國(guó)存續(xù)了1800年——從夏朝直至秦朝建立前。越王勾踐臥薪嘗膽，三千越甲可吞吳;謀士范蠡，忠以為國(guó)，智以保身……一段段千古傳奇，是這個(gè)盛極一時(shí)的古國(guó)留給后世的歷史背影。

穿越兩千年，越韻款款來(lái)。風(fēng)云變幻的歷史長(zhǎng)卷，今可在紙上細(xì)讀。不久前，一部堪稱(chēng)“新時(shí)代《越絕書(shū)》”的專(zhuān)著——《浙江通志 · 越文化專(zhuān)志》（下稱(chēng)“《越文化專(zhuān)志》”）在紹興首發(fā)。該專(zhuān)著為新編《浙江通志》113卷中的一卷。

磨一劍? ? 成經(jīng)典

八年磨一劍，出鞘成經(jīng)典?！对轿幕瘜?zhuān)志》于2013年7月啟動(dòng)編纂，2021年10月出版。在2017年12月形成初稿后，浙江省人民政府及省地方志辦公室分別于2017年、2018年、2019年組織業(yè)內(nèi)專(zhuān)家對(duì)其進(jìn)行審核，此后又先后由浙江人民出版社組織專(zhuān)業(yè)力量進(jìn)行多次審校和修改。

在春秋戰(zhàn)國(guó)的刀光劍影中，越國(guó)是“春秋五霸”之一，也是與“戰(zhàn)國(guó)七雄”并肩而立的東南強(qiáng)國(guó)，更曾在長(zhǎng)達(dá)一百多年的時(shí)間里揮斥中原，號(hào)令天下。

開(kāi)卷細(xì)覽，“絕書(shū)”未絕，歷史的風(fēng)起云涌在眼前縱橫交錯(cuò)——

“越”古老? ? “越”燦爛

在傳統(tǒng)漢語(yǔ)語(yǔ)境中，“越”和越文化有多種含義，其中最核心最基本的含義就是越國(guó)文化?！对轿幕瘜?zhuān)志》提出，越國(guó)文化是浙江先民在先秦越國(guó)時(shí)期創(chuàng)造的物質(zhì)文化、精神文化與制度文化的總和。

越文化的燦爛，我們從一把劍說(shuō)起。

2017年，《國(guó)家寶藏》節(jié)目播出，深埋2500多年而不朽、至今仍劍光可鑒的越王勾踐劍，再次勾起一段曠世傳奇。這把被稱(chēng)為“天下第一劍”的稀世寶劍，堪稱(chēng)中國(guó)古代青銅劍鑄造巔峰之作、世界冶金史傳奇?？粗畾獗迫说膭θ?，千年前的盛況宛在眼前。

中國(guó)科學(xué)院研究員華覺(jué)明曾這樣形容越國(guó)鑄造工藝之精細(xì) ：“恪守技術(shù)傳統(tǒng)要求鑄造技術(shù)和表面質(zhì)量精益求精，這正是上古鑄師的世代追求?！?/p>

越國(guó)出土的青銅器種類(lèi)繁多，且數(shù)量十分可觀，《越文化專(zhuān)志》一書(shū)對(duì)越國(guó)青銅器冶鑄業(yè)的史料記載、出土數(shù)量、分部區(qū)域等情況進(jìn)行了較為全面的梳理，兵器、禮樂(lè)之器、農(nóng)業(yè)用器……體現(xiàn)著當(dāng)時(shí)高超的鑄造工藝。

事實(shí)上，越國(guó)曾與楚、齊、晉“四分天下而有之”，越文化的空間范圍也就不限于今浙江——越國(guó)統(tǒng)治的中心地區(qū)。與此前的諸多研究成果往往囿于越國(guó)大后方——浙東地區(qū)甚至越國(guó)古都紹興附近不同，《越文化專(zhuān)志》大大拓展了視野。

青銅冶鑄只是越國(guó)“畫(huà)像”的一個(gè)小側(cè)面。《越文化專(zhuān)志》的內(nèi)容涵蓋越國(guó)文化的發(fā)祥基礎(chǔ)，越國(guó)興衰史及社會(huì)政治制度、學(xué)術(shù)思想、農(nóng)業(yè)、商業(yè)、城市交通、文學(xué)藝術(shù)等方方面面。對(duì)越文化進(jìn)行如此全面、全局的梳理研究，在此前不曾有過(guò)。

全書(shū)共分十二章，共計(jì)70多萬(wàn)字，字里行間，勾畫(huà)出越國(guó)物質(zhì)文化、精神文化和制度文化的燦爛成就。

不可否認(rèn)的是，除了家喻戶(hù)曉的傳奇故事、國(guó)家寶藏，大部分人對(duì)越國(guó)本身的歷史知之甚少——畢竟并不是每個(gè)人都是史學(xué)家。

越國(guó)歷史文化是浙江先民、南方獨(dú)特的於越民族對(duì)中華民族乃至東亞文化的重大貢獻(xiàn)?！爸鴷?shū)立說(shuō)，是希望更多讀者能夠更全面、系統(tǒng)地了解越文化，這是歷史留給后人的一筆豐厚的遺產(chǎn)。”浙江省越文化傳承與創(chuàng)新研究中心（紹興文理學(xué)院越文化研究院）教授、《越文化專(zhuān)志》主編潘承玉說(shuō)。

凝心血? ? 鑄經(jīng)典

2000多年前的歷史盡收眼底，同時(shí)，《越文化專(zhuān)志》還為人們品讀越文化提供了另一種視角。本書(shū)在對(duì)相關(guān)文獻(xiàn)做了詳盡研究的基礎(chǔ)上，對(duì)不少存疑之問(wèn)或傳統(tǒng)看法提出新的觀點(diǎn)——

比如，歷史上，越國(guó)都城曾幾次變遷。在遷都紹興之前，越國(guó)都城何在？諸暨？德清？武夷山？皖南？甚至湘南？學(xué)界眾說(shuō)紛紜已久。

對(duì)此，書(shū)中在第二章、第五章進(jìn)行了探討，并提出，《越絕書(shū)》和《水經(jīng)注》所說(shuō)的“無(wú)余舊都”“嶕峴大城”——越國(guó)遷都紹興之前，都城的具體位置，就在紹興城區(qū)會(huì)稽山以南，今平水鎮(zhèn)政府的若耶溪（平水江）邊。

又如，越族的流散，也是公眾較為關(guān)注的一個(gè)話題。越國(guó)滅亡以后，越人去哪里了？又產(chǎn)生了哪些影響？

本書(shū)在引述相關(guān)專(zhuān)家研究的基礎(chǔ)上，將此分別放置于戰(zhàn)國(guó)末期、秦漢時(shí)期和三國(guó)時(shí)期這三個(gè)歷史時(shí)期進(jìn)行記載和闡述，提出在持續(xù)的歷史變動(dòng)中，隨著於越民族的流散及華夏內(nèi)外各族的交融，越文化經(jīng)歷了逐漸向外擴(kuò)散的過(guò)程，影響了其他地區(qū)的文化發(fā)展，成為中華文化中最具有海洋性、最早“走出國(guó)門(mén)”的地域文化之一。

諸如以上問(wèn)題，《越文化專(zhuān)志》在立足大量文獻(xiàn)、研究成果和考古發(fā)現(xiàn)的基礎(chǔ)上，對(duì)諸多似是而非的問(wèn)題作出審慎澄清、重新梳陳于世。

在漫長(zhǎng)的編纂出版過(guò)程中，課題組付出大量心血。為了讓人們對(duì)越國(guó)歷史形成更清晰的認(rèn)識(shí)和了解，書(shū)中還配以大量的遺址遺跡和出土文物的圖片。

前兩天，《越文化專(zhuān)志》編纂團(tuán)隊(duì)給筆者發(fā)來(lái)一張文物的照片，拍自無(wú)錫鴻山遺址博物館。

那是一枚展柜中靜靜陳列的玉飛鳳，長(zhǎng)3.2厘米、寬2.6厘米、厚0.5厘米，造型優(yōu)美，雕刻有許多精美的花紋。這枚拇指大小的珍品，由越國(guó)貴族墓出土，是中國(guó)最早出現(xiàn)的“微雕工藝”之一。

團(tuán)隊(duì)成員感慨，如果不是跑到博物館展廳親眼所見(jiàn)，斷然不會(huì)有如此直觀的感受，“在網(wǎng)上查閱到的資料圖，其實(shí)做了放大處理。實(shí)際看到的其實(shí)是很小一枚，越發(fā)贊嘆越國(guó)玉器陰刻工藝的精美”。

編纂期間，課題組還調(diào)研走訪了中國(guó)國(guó)家博物館、故宮博物院，上海、湖北、湖南、海南等地博物館及眾多越國(guó)文物收藏單位和重要考古發(fā)掘現(xiàn)場(chǎng)。

白紙黑字的背后，是學(xué)者們對(duì)越國(guó)千年歷史文化的守望和耕耘——是謂“看似尋常最奇崛，成如容易卻艱辛”。

之江長(zhǎng)? ? 文脈遠(yuǎn)

來(lái)到紹興府山公園，腳步在越王臺(tái)城樓下停留。站在古樸的城墻上、古老的蒼天柏樹(shù)下、古意的“古越龍山”碑前，一個(gè)疑惑涌上心頭——越文化的精神內(nèi)核是什么？6B069CAA-809D-4DEA-A7FE-1587EFDCFA75

如果用一個(gè)字概括，潘承玉認(rèn)為，那就是“越”。

“越”字，甲骨文、金文中作“戉”，“戉”本指戰(zhàn)斧，是上古越族的重要禮器?！按碇鴦倧?qiáng)、韌勁，代表硬骨頭精神——這個(gè)字太有魅力了。”他說(shuō)。

如果是兩個(gè)字，那就是“膽劍”——“膽”代表刻苦和堅(jiān)忍，“劍”代表奮發(fā)向上、精益求精?！澳憚瘛睂?shí)質(zhì)上就是越國(guó)的政治文化精髓，是對(duì)越國(guó)歷史文化的高度概括。

長(zhǎng)久以來(lái)，越文化一直吸引著歷代學(xué)者孜孜追溯，由此形成綿延至今的“越學(xué)”。

從《越絕書(shū)》《吳越春秋》兩部奇書(shū)算起，有關(guān)越國(guó)文化史的研究已長(zhǎng)達(dá)2000多年。唐代韓愈、明代楊慎、清代樸學(xué)大師黃以周等都有“越學(xué)”成果問(wèn)世;

112年前，魯迅曾向友人傾訴自己的愿景，“開(kāi)拓越學(xué)，俾其曼衍，至于無(wú)疆”;1936年，蔡元培牽頭發(fā)起“吳越史地研究會(huì)”，“越學(xué)”的現(xiàn)代研究就此開(kāi)啟……

時(shí)間來(lái)到21世紀(jì)。2008年，浙江專(zhuān)題部署文化大省建設(shè)，并于2011年正式發(fā)文啟動(dòng)編纂總數(shù)約1.2億字的《浙江通志》。第111卷是《越文化專(zhuān)志》——這卷唯一以“文化”命名的專(zhuān)著，足能體現(xiàn)越文化在《浙江通志》框架體系中是特別的存在。

修史修志，加強(qiáng)文化建設(shè)?！皬牡胤街镜慕嵌瓤?，這是一種升格記述，目的是為了突出浙江文化的地域特色，突出越文化在整個(gè)文化版圖中不可或缺的作用?！薄墩憬ㄖ尽犯笨傋腩佋交⒄f(shuō)。

“十年生聚，十年教訓(xùn)?！鳖佋交⒄J(rèn)為，臥薪嘗膽、發(fā)憤圖強(qiáng)的越族精神、越國(guó)精神是中華民族精神的重要組成部分，代代相傳、歷久彌新。

之江長(zhǎng)，文脈遠(yuǎn)。賡續(xù)“越學(xué)”，利在千秋。

越國(guó)歷史文化是浙江文化的主要根脈所在。潘承玉說(shuō)，全面梳理越國(guó)歷史文化，意在化古為新，激活其中以“膽劍精神”為核心的不朽生命力。

聽(tīng)，越地長(zhǎng)歌，聲聲不息。輕輕翻開(kāi)這本裝幀精美、典雅厚重的專(zhuān)著，古韻在指間緩緩流轉(zhuǎn)淌——那是歷史深處的回響。

Everlasting Melodies of the Yue Culture

By? Zheng Mengying

In the river of history， the State of Yue has survived for 1，800 years — from the Xia dynasty （ca. 2070-1600） until the establishment of the Qin dynasty （221-207 BC）.

Now we could see this historical legend unfolding like a painting scroll before our eyes — a monograph titled the Yue Culture Chronicle was first launched in Shaoxing， one of the 113 volumes of the new “Zhejiang General Chronicle” series.

The Yue Culture Chronicle was compiled starting in July 2013 and finally published in October 2021. After the first draft was completed in December 2017， the Zhejiang provincial government and the Office of Local Chronicles Compilation invited relevant experts to review it in 2017， 2018 and 2019 respectively， and then the Zhejiang Peoples Publishing House organized several professional reviews and revisions.

In the traditional Chinese context， “Yue” and “Yue culture” have various meanings， among which the most essential is the culture of the State of Yue. The Yue Culture Chronicle suggests that Yue culture is the sum of material， spiritual and institutional culture created by Zhejiang ancestors during the pre-Qin period.

Let us unveil the splendor of Yue culture with a sword. In 2017， the sword of King Goujian of Yue was introduced by a TV program National Treasure. Buried for more than 2，500 years， this sword is still an immortal legend to this day， known as “the worlds first sword”. Looking at its chilling blade， we seem to be looking at the grand scene over a thousand years ago. Hua Jueming， a researcher at the Chinese Academy of Sciences， once described the fine bronze casting of Yue as “seeking excellence in both the casting techniques and quality — that was what the ancient casters did”.6B069CAA-809D-4DEA-A7FE-1587EFDCFA75

Yet bronze casting is only a small part of Yues history. The content of the Yue Culture Chronicle covers the foundations of Yue culture， the history of the states rise and fall， as well as its social and political systems， academic thoughts， agriculture， commerce， urban transportation， literature and art. Such a comprehensive and holistic study of Yue culture has never been done before.

The book is divided into twelve chapters， totaling more than 700，000 Chinese characters， and between the lines it depicts the splendid achievements of Yues material， spiritual and institutional cultures.

“The book is compiled in the hope that a larger number of readers can understand Yue culture more comprehensively and systematically. It is a rich historical heritage for future generations，” said Pan Chengyu， chief editor of the Yue Culture Chronicle.

At the same time， the book also provides another angle for appreciating the Yue culture. Based on a thorough study of relevant literature， the book offers new perspectives on a number of questions or traditional views.

For example， the capital of the State of Yue changed several times throughout history. Before the capital was moved to Shaoxing， where was the capital of Yue？ Zhuji， Deqing， Wuyishan， southern Anhui， or even southern Hunan？ The academic community has been divided at this issue for a really long time.

Another example is the exodus of the Yue people， which is also a topic of great public concern. After the fall of the Yue state， where did the Yue people go？ And what social impact did they create？

Based on numerous documents， research results and archeological discoveries， the Yue Culture Chronicle clarifies and re-sets out many specious issues.

The editorial team has invested a lot of efforts during the lengthy compilation and publication process. In order to help readers get a clearer understanding about the history of the State of Yue， a large number of pictures of the ruins and excavated artifacts have been added to enhance the contents. Meanwhile， the team also visited the National Museum of China， the National Palace Museum， and museums in Shanghai， Hubei， Hunan， Hainan ... as well as many relevant cultural relics collection units and important archeological excavation sites. With their academic rigor， the scholars are safeguarding and exploring the thousand-year history and culture of the State of Yue.

What is the spiritual core of the Yue culture？ If we use one word to summarize it， Pan Chengyu believes it is “Yue”. The character “Yue” is written as “Wu” in the inscriptions on bones or tortoise shells and in the bronze inscriptions of Shang （ca. 1600-1046 BC） and Zhou （1046-256 BC） dynasties， which originally refers to a battle axe， an important ritual weapon of the ancient Yue tribe. “It represents the spirit of strength and toughness … what a charming character，” said Pan.6B069CAA-809D-4DEA-A7FE-1587EFDCFA75

If we use two words， then they are “guts” and “swords” — “guts” represents hard work and perseverance， and “swords” means striving for excellence. The spirit of “guts and swords” is the essence of the political culture of Yue， and a great summary of Yues history.

For a long time， the Yue culture has been attracting scholars of all generations， who have conducted relevant studies since over 2，000 years ago. Two masterpieces Yue Jue Shu and Wuyue Chunqiu are believed to mark the start of the study on the State of Yue. From Han Yu （768-824）， Yang Shen （1488-1559）， and Huang Yizhou （1828-1899）， to Lu Xun （1881-1936） and Cai Yuanpei （1868-1940）， there are many historical figures who have made great achievements in the research on the State of Yue.

In 2008， authorities in Zhejiang started a project of cultural construction， and in 2011 officially issued a document to initiate the compilation of “Zhejiang General Chronicle” of about 120 million characters in total. The 111th volume is the Yue Culture Chronicle — the only monograph named after “culture”， which is a clear evidence of Yue cultures special significance within the framework of the “Zhejiang General Chronicle”.

Experts believe that the Yue Culture Chronicle will provide important spiritual support for shaping Zhejiang into a great province of culture in the new era. “Historical resources need constant innovation and enrichment. The history and culture of Yue is the first major contribution to human history and culture by Zhejiang ancestors and the unique Yue people of southern China.” According to Pan， the comprehensive combing of Yue culture is intended to transform the ancient into the new and stimulate its vitality.

Now we are able to listen to the everlasting melodies once filled the land of Yue. Gently flipping this elaborate， elegant book， we could hear the ancient rhythm slowly flowing through every page — that is the echo of the depths of history.6B069CAA-809D-4DEA-A7FE-1587EFDCFA75