编者按涂山,位于蚌埠,相传早在4000多年前大禹就在此劈山导淮.涂山南麓,有个禹墟遗址.就是在这里,大禹会诸侯.而同位于蚌埠境内的双墩遗址,距今更是有 7000 年左右的历史,是淮河流域早期文明的有力证据.双墩的刻画符号可以说是中国文字起源的重要源头之一.涂山 t shan mo ntain01 双墩遗址:远古深处的符号 双墩遗址位于蚌埠市淮上区双墩村原野上. 原野上有现代石碑,书写着"双墩文化遗址",它作为遗址的标志以及被认可的勋章高高耸立着,有一些新石器时代的人物雕塑和器物围绕着它.没有什么悬念,从市区到这里只用了二十分钟,我确定自己站在了七千三百年前的史前遗址上.蚌埠双墩文化遗址 sh angd n c lt ral site in bengb city 皖北的风,也没有悬念,它只管带动着原野上的芦苇瑟瑟作响.风在远古时代是链接天地的工具,"山海经"中有记载:钟山之神,名曰烛阴,视为昼,瞑为夜;吹为冬,呼为夏.不饮,不食,不息,息为风,身长千里.当你独自在旷野,听这风吹过七千年的余响,还是会有所触动,你惊奇地发现,那枚被奉为淮河流域人文始祖的陶塑人面像,俯视着你,正露出雍容神秘的微笑.新石器时代陶塑人头像 the pottery stat e with a h man face of the neolithic age 绕到石碑的背面,是后人刻上去的诸多更加神秘的刻画符号,它们曾经大量出现在七千年前的碗底底部,无论是行走的猪还是钻网的鱼,哪怕是一枚树叶呢,都高度提炼又栩栩如生,甚至可说浪漫;这些神秘的符号聚集在一起,便如同远古的巫师借助了风,向天地发射出邀请神和祖先的咒语;然而此刻,没有了巫师,风便吹不动它们,它们在这块高耸的碑上聚散着阴阳,负责给你无尽的遐想,也给艺术家无穷的创作素材.新石器时代刻划符号纹黑陶碗 the black pottery bowl of the neolithic age engraved with symbols 整个双墩文化是建立在考古上的.在外行看来,遗址并没有什么特别,它们呈现的是考古挖掘的布局,那些规整的几何形状的坑里,埋藏着七千年的愁绪,而这七千年的愁绪不过是一百万平方米遗址的冰山一角;因此,双墩文化从一开始出现在人们面前就极端神秘,它是远古的,新石器的愁上面还累加着春秋的愁,它同时又是新的,因为远古的愁绪上又新添了唐宋的愁和现代考古人的愁.其实,所有的愁绪都在于我们惊羡七千年前先祖的创造力,同时又无法真正揭开它的面纱,陶塑人面像是酋长还是巫师?抑或既是酋长也是巫师?他(她)头顶的雕题是星星还是太阳?六百多枚刻画符号,仅仅是记事还是艺术创作?大量的动物骨骼和陶器碎片,是祭祀还是填水造陆?新石器时代网鸟纹红陶碗 the red pottery bowl of the neolithic age engraved with birds 无论如何,史前历史背后,有些秘密永远湮灭在近万年时间里了.在寻找与确认的过程中,我们直面了历史的辽阔,却又无法抵达历史,这是一种纠缠,当这种纠缠始终困扰我们的时候,你会有更重要的收获:沧海桑田,千秋万代,孕育了双墩文化的淮河两岸,不仅有着你可以看见的现实火热,还和如此古老的文明共存,它改变了这块土地的历史进程,让我们产生了,对中国文化源头方面崭新的思考...02禹墟遗址:会盟诸侯咤春秋 禹墟的发现是"禹会诸侯于涂山,执玉帛者万国"(语出"左传")的考古支撑,所以,当沉睡在地下四千年的祭祀台重见天日时,便为这片沧桑的土地注入了旷代的忧伤.我们应该如何理解这些忧伤呢?苏轼曾经写过一首名为"涂山"的七绝:川锁支祁水尚浑,地理汪罔骨应存.樵苏已入黄熊庙,乌鹊犹朝禹会村.禹会村遗址发掘现场 the excavation site in y h i village 黄熊庙也就是鲧王庙,也叫崇伯观,为祭祀禹父鲧王的庙宇,位于涂山西麓,现已夷为平地.涂山不仅是禹会诸侯之所,也是大禹婚娶之地,感人的"三过家门而不入"等传说流传至今.所以,大禹,这个名字几乎可以直接替代"奉献"的含义.禹会村遗址出土的陶器 pottery excavated from the site of y h i village (y x ) 念及这些传说,登上涂山,并不见乌鹊寒鸦,倒是禹同女娇初会的桑石遗迹在阳光下熠熠生辉.享受阳光从后脑勺悄悄钻进脖子里的感觉,目光所及处,并不都是山,还有平原,平原尽头是森林,森林的线条隐藏在大自然的构图里,让你想象"夏之兴,源于涂山"的豪迈.目光收回,淮河就在眼前,都说她伤害过人千百次,才有大禹为之殚精竭虑,因治水三过家门而不入;如前所述,妻子望夫,化作石像,石像就在身后不远处.可是此刻无法想象淮河的暴怒,她在那里,敦厚和善,母性十足.她吸纳着所有过往,数千年风雨雷电,人间是非,爱恨情仇,她一点一点积淀和淘洗.风把天边那朵犹疑的云霞运到遥远的岸边,这一刻的淮河,低婉回旋,如梦如幻,触手可及.枯叶飘飞,果真有一只乌鹊从眼前掠过,发出了一些声响,然后是不可思议的宁静. 迤逦着下山,这条山路并没有多长,然而历史没有尽头.鬼脸式鼎足(组图)又叫鸟首型鼎足,因外形酷似鬼脸或鸟首而得名,鬼脸型鼎足为龙山文化所特有,独有的器物特征.禹墟遗址发现的鬼脸式鼎足是与山东龙山文化同一时期的遗存.自驾线路: 合肥绕城高速-蚌合高速-蚌淮高速-京台高速-禹都大道-淮上大道-双墩遗址 合肥绕城高速-蚌合高速-蚌淮高速-洞山东路-国庆东路-烟汕线-禹会村 in ancient china, wind was considered as a medi m connecting the divine and the mortal. it was even believed to be the breath of god, as recorded in some chinese classics. b t it seems that there is nothing mysterio s abo t the wind in north anh i, for all it makes is merely the r stle of reeds in the meadow. if yo walk alone in sh angd n site, a historical site in bengb city, north anh i, however, it will still generate in yo a sensation of solemnity when the wind that carries a history of over 7,000 years blows. standing nder the pottery stat e with a h man face, which is worshiped as the c lt ral ancestor of h aihe river basin, yo will be amazed at its elegant and mysterio s smile. at the back of the stat e are carved many more mysterio s symbols seen at the bottom of the bowls of 7,000 years ago. the walking pigs, the fishes trying to get free from the net, and a single leaf are so exq isite and vivid, even possessing romantic charms. all those mysterio s symbols gathering together appear to be a spell sent to heaven and earth, cast by an ancient wizard s mmoning gods and ancestors with the power of wind. at this moment, however, witho t the ancient wizard, the wind cannot work its magic on these symbols. they silently lie in the towering stat e, only to capt re yo r imagination and inspire artists. the discovery of y x site, a r in in t shan mo ntain, bengb city, offers archaeological s pport for t shan meeting, in which y the great (a legendary r ler in ancient china who was famed for his flood control and establishment of the xia dynasty which ina g rated dynastic r le in china) met with the leaders of each state and tribe in t shan and officially established the xia dynasty. therefore, when the altar that had laid ndergro nd for 4,000 years was excavated, it added to this land a kind of sadness for being an nknown chinese civilization center for so many years. it is said that many people had lost their lives in h aihe river, and that s why y the great had to spend 13 years in flood control. he was too b sy to go home even passing by his own ho se several times, and his wife gazed in the direction of him day and night ntil she t rned into a stone. looking at the h aihe river in front of yo , with the stone sc lpt re standing not far behind, yo can hardly imagine how f rio s this river co ld be. she j st lies there, so serene and tender, yet having witnessed all stories flo rishing or decaying for seven tho sand years.版权须知:未经本刊书面许可,任何人或单位不得以任何形式转载,摘编本刊图文内容. 特别声明:以上文章内容仅代表作者本人观点,不代表新浪网观点或立场.如有关于作品内容,版权或其它问题请于作品发表后的30日内与新浪网联系.