作者：韩关潮
Material Reflections of Civilizational Radiance: A Narrative from Yuanmingyuan to Bronze, Jade, and Porcelain
（本文基于学校博物馆课内容所作）
引言
在清华大学熙春园旧址的银杏树下，当我们将目光投向圆明园遗址残存的四十景图石刻时，那些被战火撕裂的文明碎片仍在诉说着一个民族的精神密码。博物馆中的文物并非冰冷的器物，而是中华文明基因的载体。从三山五园的营造智慧到青铜重器的礼制精神，从古玉雕琢的天地信仰到瓷器流变的文明对话，物质遗存与精神传统始终保持着超时空的共振。
Introduction
Under the ginkgo trees at the site of Xichun Garden in Tsinghua University, when we gaze upon the surviving stone carvings of the Forty Scenic Views from the ruins of Yuanmingyuan, fragments of civilization torn by war still whisper the spiritual code of a nation. The artifacts encountered in museum studies are not lifeless objects but carriers of the genetic legacy of Chinese civilization. From the architectural ingenuity of the Three Hills and Five Gardens (三山五园) to the ritual ethos embodied in bronze ceremonial vessels, from the cosmological beliefs carved into ancient jade to the cross-civilizational dialogues reflected in porcelain evolution, material remains and spiritual traditions have always resonated across temporal and spatial boundaries.
一、园林叙事中的文明图式
I. The Civilizational Blueprint in Garden Narratives
圆明园建筑群落的营造史本质上是一部文明构建史。康熙在畅春园设立蒙养斋，将园林空间转化为知识生产场域；雍正以”圆明”法号命名离宫，暗含”体天象地”的哲学追求；乾隆在长春园仿建西洋楼，展现文明交融的气度。三山五园体系中的静宜园取《尚书》”静言庸违”之意，静明园玉泉山建筑群暗合”四象五行”之制，这种空间营造始终贯穿着”天人合一”的深层思维。
The construction history of the Old Summer Palace complex fundamentally manifests a civilization-building process. Kangxi transformed the Changchun Garden into a knowledge production hub by establishing the Mengyangzhai Academy. Yongzheng’s nomenclature “Yuanming” (Perfect Brightness) for his imperial retreat embodied cosmic and earthly philosophical pursuits. Qianlong’s replication of Western-style palaces in the Changchun Garden demonstrated intercivilizational dialogue. Within the Three Hills and Five Gardens system, Jingyi Garden derived its name from the admonition against hypocrisy in the Book of Documents, while the Yuquan Mountain complex in Jingming Garden followed cosmological principles of Four Symbols and Five Elements. This spatial configuration consistently actualized the traditional Chinese paradigm of heaven-humanity unity through architectural epistemology.
清华大学校园内残存的熙春园石构件，其须弥座雕刻的缠枝莲纹样与青铜器蟠螭纹存在基因关联；故宫内廷匾额满汉两种文字，揭示了多民族文化交融的密码。金章宗完颜璟在香山构筑 “八大水院”行宫，用“瘦金体”在顾恺之的《女史箴图》上以假乱真, 其血脉中流动的宋徽宗艺术基因，恰是文明传承最鲜活的注脚。这些物质遗存构成了解读中华文明连续性的三维密码本。
The stone remnants of Xichun Garden within Tsinghua University campus reveal stylistic connections between the intertwined lotus motifs on Sumeru pedestals and archaic bronze coiled serpent patterns. The Manchu-Chinese bilingual inscriptions on Enmu Temple’s mountain gate tablet outside Peking University’s west gate epitomize multicultural integration. When Emperor Jin Zhangzong constructed the Eight Great Water Palaces in Fragrant Hills, his artistic lineage inherited from Emperor Huizong of Song manifested living continuity of civilizational inheritance. These material vestiges collectively form a three-dimensional cipher for decoding Chinese civilization’s unbroken lineage through architectural semiotics.
二、青铜重器中的礼制密码
安阳殷墟妇好墓出土的1928件文物，不仅是商周礼制的物质见证，更是讲述了武丁王后妇好的巾帼传奇。宝鸡青铜器博物院藏“带盘夔足鼎”，西周时期的分食器，可以大致窥见3000年前周人的分餐分食习俗。分餐制、使用公筷公勺，是现代餐桌上的一件小事，是尊重他人的体现和提高社会文明程度的有效方式。“带盘夔足鼎”所映射出的周代生活习俗，不只是那个时代的饮食方式，更能体现出中华文明的重要基因，那是中华食文化最早的源头。甘肃省博物馆铜奔马的力学造型突破汉代”马式”规范，其蹄下飞鸟既是对速度的艺术化表达，更是”天马徕从西极”的意识形态投射。当宣和博古图将青铜器转化为纸上艺术时，宋人不仅在进行文物考据，更是在重构古典文明的认知体系。这些青铜遗珍共同编织出礼乐文明的技术图谱与精神谱系。
II. The Ritual Cipher in Bronze Treasures
The 1,928 artifacts unearthed from Fu Hao’s tomb at Yinxu in Anyang not only materialize Shang ritual systems but also narrate the military legend of Queen Fu Hao under King Wu Ding. The “Gui-footed Ding with Tray” housed in Baoji Bronze Museum, serving as a Western Zhou food-sharing vessel, reveals early dining protocols through its partitioned structure. Contemporary practices like separate dining and communal utensils, though seemingly mundane, embody social civility – a civilizational continuum traceable to Zhou’s 3,000-year-old food-sharing customs that represent the cultural genesis of Chinese gastronomy. Gansu Provincial Museum’s Bronze Galloping Horse transcends Han equestrian norms through its dynamic suspension design, where the hoof-treading bird simultaneously visualizes kinetic energy and materializes the ideological construct of “celestial steeds from western realms”. When Song scholars transcribed bronzes into the Xuanhe Bogutu (Illustrated Catalogue of Antiques), they were reconstructing classical cognitive systems through antiquarian research. These bronze relics collectively map the techno-spiritual matrix of Chinese ritual-music civilization.
三、玉石雕琢中的天地信仰
妇好墓出土的755件玉器构成完整的礼仪系统：玉琮的内圆外方对应”天圆地方”的宇宙观，玉戈的礼仪化演变记录着”化干戈为玉帛”的文明进程。国博藏商代玉凤的镂空工艺达到0.2毫米精度，其S形造型暗合《周易》”曲成万物”的哲学意象。战国曾侯乙墓玉器的谷纹排列遵循斐波那契数列规律，证明古代工匠已掌握黄金分割的造物法则。
乾隆皇帝为古玉题刻的487首御制诗，将器物鉴赏提升为文化阐释活动。故宫藏”桐荫仕女图”玉山子巧妙利用玉皮色泽，将瑕疵转化为艺术语言，这种”巧思”传统可追溯至红山文化玉猪龙的”俏色”工艺。从良渚玉琮的神权象征到汉代金缕玉衣的永生追求，玉石从神坛走向人间，始终彰显着中华文明的独特精神符号。
III. Celestial Faiths in Jade Carving
The 755 jade artifacts unearthed from Fu Hao’s tomb form a complete ritual system: thecong’s inner circle and outer square embody the “round heaven, square earth” cosmology, while the ceremonial evolution of jade ge daggers records civilization’s progression “from weapons to jade silks.” The National Museum’s Shang-dynasty jade phoenix, with its 0.2mm precision openwork and S-curve silhouette, echoes the Book of Changes concept of “curved completeness.”
Warring States jades from Marquis Yi’s tomb reveal Fibonacci-sequence grain patterns, proving ancient mastery of the golden ratio. Emperor Qianlong’s 487 inscribed poems transformed jade appreciation into cultural hermeneutics. The Palace Museum’s “Lady Under Phoenix Tree” jade boulder brilliantly incorporates flaws into its composition—a “clever craftsmanship” tradition traceable to Hongshan culture’s “color-utilizing” techniques. From Liangzhucong’s divine authority to Han jade burial suits’ pursuit of immortality, jade remained China’s primordial medium between earth and heaven.
四、窑火淬炼中的文明对话
龙泉青瓷的”梅子青”釉色引发欧洲人的”雪拉同”（Celadon）崇拜；长沙窑褐彩瓷上的阿拉伯文款识，记录着海上丝绸之路的文化碰撞；但丁《神曲》的《天堂篇》，最高天被描述为”永恒之光”的折射，这种光学效应与青瓷开片中光线在釉层裂纹间的散射异曲同工，天堂的光效与青瓷冰裂纹共享”破碎中的永恒”这一终极美学。当青釉虎子从夜壶演变为现代卫浴器具，其功能变迁折射出造物文明的进化逻辑。汝窑天青釉的”雨过天青云破处”不仅是色彩美学，更是宋代士人宇宙观的物质显现。
景德镇元代青花料中的苏麻离青钴料，将波斯审美基因注入中国瓷器血脉；万历外销瓷上的郁金香纹样是中西贸易与文化交融的产物，是“中国制造”全球化的早期案例。这些跨越时空的窑火，烧制出文明互鉴的璀璨结晶。
IV. Civilizational Dialogues Forged in Kiln Flames
The “plum-green” glaze of Longquan celadon inspired European “Celadon” worship, with its crackled patterns immortalized in Dante’sParadiso. Changsha ware’s Arabic inscriptions on brown-glazed ceramics document cultural encounters along the Maritime Silk Road. The evolution of green-glazed “tiger chamber pots” into modern sanitary ware mirrors the logical progression of material civilization.
Ru ware’s “sky-clearing-after-rain” hue transcends chromatic aesthetics to materialize Song literati’s cosmological vision. Yuan-dynasty Jingdezhen blue-and-white, colored with Persian cobalt pigments, integrated Central Asian aesthetics into China’s ceramic DNA, while Wanli export porcelains bearing tulip motifs testified to early globalization’s cultural translations. These kiln-fired masterpieces crystallize millennia of cross-civilizational dialogue.
结语
在圆明园海岳开襟遗址的汉白玉基座上，风雨侵蚀的痕迹与青铜器绿锈、玉器包浆、瓷器开片共同构成文明的年轮。从三山五园的建筑智慧到博物馆中的国之重器，物质文化遗产始终在完成双重使命：既凝固着过往文明的辉煌成就，又持续为现代文化创新提供基因图谱。当我们在清华大学艺术博物馆凝视战国玉璧时，那穿越时空的对话仍在继续——每个时代都需要在传统基因中解码新的文明可能性。
Epilogue: The Palimpsest of Civilization
Upon the marble foundations of Yuanmingyuan’s Haiyue Kaijin ruins, the erosions of time merge with bronze patinas, jade lusters, and ceramic crackles to form civilization’s growth rings. From the architectural intelligence of the Three Hills and Five Gardens to the national treasures in museum halls, material heritage perpetually fulfills its dual mandate: preserving past glories while continuously supplying genetic blueprints for cultural innovation. As we contemplate the Warring States jade bi in Tsinghua University’s art museum, that trans-temporal dialogue persists—each epoch must decode new civilizational potentialities from ancient DNA.
参考文献
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References
1.Wang Fu (Song Dynasty), 1123. Xuanhe Bogu Tu [Illustrated Catalogue of Antiques from the Xuanhe Era]. Hangzhou: Imperial Edition of the Song Court.
(Supports the analysis of bronze ornamentation and ritual systems)
2.Chang, Kwang-chih, 1983. Zhongguo Gudai Qingtongqi Jishu Yanjiu [Technological Studies of Ancient Chinese Bronzes]. Beijing: Cultural Relics Press.
(Provides evidence for Shang-Zhou bronze casting techniques and ritual evolution)
3.The Palace Museum (ed.), 2015. Qianlong Yuzhi Wenwu Tiba Quanji [Complete Collection of Emperor Qianlong’s Inscriptions on Antiquities]. Beijing: Forbidden City Publishing House.
(Documents Qing emperors’ cultural interpretations of jade artifacts)
4.Gansu Provincial Institute of Cultural Relics and Archaeology, 2001. “Excavation Report of the Leitai Han Tomb in Wuwei.” Kaogu Xuebao [Acta Archaeologica Sinica], no. 3.
(Contains archaeological analysis of the Galloping Bronze Horse)
5.Li, Zhiyan, 1998. Zhongguo Taoci Shi [History of Chinese Ceramics]. Taipei: The Commercial Press.
(Demonstrates Changsha kiln’s role in cultural exchange)
6.Institute of Archaeology, Chinese Academy of Social Sciences, 1980. Yinxu Fuhao Mu [The Tomb of Fu Hao at Yinxu]. Beijing: Cultural Relics Press.
(Provides archaeological evidence of Shang jade ritual systems)
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(Substantiates the spatial philosophy of Three Hills and Five Gardens)