川慧子

这里仿佛是一座气势恢宏的历史剧场，远古的传说、震撼的史剧、永恒的传奇，都会在此循环上演——6月8日至10月8日，浙江省博物馆年度重点展览“越地宝藏——100件文物讲述浙江故事”在浙江西湖美术馆亮相。这些文物精品，来自全省39家文博机构，数量之多、规格之高、种类之丰富，在浙江省可谓空前。

你可知道，浙江境内的人类活动，至迟可以追溯到100万年前的旧石器时代晚期。从距今1万年起，钱塘江两岸先后进入新石器时代。灿烂的良渚文化点亮了中华五千年文明的辉煌；两千多年前勇敢的古越人精勤耕战，以其特有的生存方式活跃在这片热土上，形成了有别于中原的独特文化；勤劳的匠人们用巧手创造出典雅精致的瓷器，开创出一条海上瓷路；吴越国“善事中国，保境安民”的政策为两宋浙江经济的高度发达奠定了基础；“四方仰之为师”的南宋都城，繁盛富庶；明清时期，浙江更是成为吸引无数文人墨客的诗画胜地、人文渊薮。

展览对应“走出蒙昧”“精勤耕战”“陶瓷之路”“梵音声声”“武林旧事”“走向自省”六个单元，为观众呈现出浙江大地上精彩的历史印迹与独特的地域文化。

这六部分内容，虽看似独立，相互间却有着千丝万缕的关联。历史为脉，文物为线，从史前到明清，宛如穿越时空隧道，为你展示浙江自古发展与传承下来的灿烂文明。

2018年的夏天，属于浙江的故事，就让这百件文物讲给你听！

代表权力的良渚玉器

农业生产带来了财富积累和人口大幅增长，同时也带来了矛盾冲突。部族内部的地位差异与部族之間的暴力冲突促进了社会财富再分配，并由此加剧了阶层分化与部落整合，逐渐形成了金字塔型的社会结构和规范化的礼制。宗教是整合人力的高效手段，在信仰的催化下，更多的人团结在一起，逐步聚合成部落、酋邦以至国家。良渚文化就是在这个过程中凸显出来的独特文明。

玉礼器是良渚文化最显赫的表征之一，其数量之多、种类之丰富，尤其是在功用上所显示出来的复杂性和全面性，在同时期考古文化中是绝无仅有的。

展览中呈现了一组玉琮、玉钺、玉璧，分别代表了神权、军权、财权结为一体的国家雏形的政治背景和政治制度。

虽然良渚文明在延续近千年后突然消失，但从殷墟、金沙等重要遗址中所发现的玉琮的踪迹可以得知，直到商周，良渚人所开创的玉礼器仍然流传在各地，他们的思想意识在后代的传统中依旧闪烁着智慧的光芒。

精勤耕战的古越人

春秋战国，当中原开始呈现中央帝国的显赫时，越地在中土君子眼里不过是一个荒蛮偏僻的东南小国。然而，生活在这片土地上的古越人却以质朴悍勇的个性、务实拼搏的精神，忍辱负重，在逆境中自强不息、发展生产、迅速崛起，从困顿走向强盛。

“断发文身”的青铜鸠杖清晰刻画了两千多年前古越人形象；“习水便舟”的羽人划舟铜钺告诉我们古越人的生活环境；绍兴306号墓出土的青铜器则是徐人（上古时代现江浙一带存在着两个文化圈，即淮河以北以徐国为中心的徐文化圈，江南以吴国为中心的吴文化圈）进入越地的史证，其中便包括浙江省博物馆的镇馆之宝：伎乐铜屋。

还有剑中之极品、稀世之珍宝，浙江省博物馆另一件镇馆之宝：越王者旨於睗剑。

当中原国家大规模铸造精美的青铜礼器祭祀神明时，古越人却用珍贵的青铜材料制造农具和兵器，务实勤恳地发展经济、加强军备。这把剑在体现越国高水平铸造技艺的同时，也折射出古越人精勤耕战的精神。

浙江瓷业的贸易之路

浙江是中国瓷器的发源地。唐代以后，浙江瓷业飞速发展，晚唐至北宋初期，越窑步入辉煌时期，“九秋风露越窑开，夺得千峰翠色来”，描绘的就是当时的烧瓷盛景。宋元时，龙泉窑异军突起，烧瓷工艺得到进一步创新，烧造出粉青和梅子青釉，莹润如玉。

从唐朝开始，浙江青瓷通过海路大批销往域外，宋元时达到鼎盛，成为浙江海外贸易的重要支柱。1976年，在韩国新安海底发现一条中国沉船，装有各类物品两万两千多件，其中瓷器20681件，而龙泉窑青瓷的数量约占一半。

陈展中所展示的几件青瓷，皆为不同时期越地匠人们的巅峰之作。看着这碧玉一般的色泽，便能理解为什么中国的瓷器可以远销海外，深受异域人民喜爱。

承载美好夙愿的阿育王塔

五代时期，中原佛教呈式微之势，唯东南一隅的吴越国佛法昌盛，建寺起塔，开龛造像，刻经造幢，留下了众多佛教遗物遗迹。其中最负盛名的当属西子湖畔的雷峰塔。

雷峰塔是五代吴越国王钱俶为奉安原藏于吴越宫中的“佛螺髻发”而造的舍利塔，约在北宋开宝四年（971年）开始营建，太平兴国二年（977年）竣工。其间，赵匡胤讨伐南唐，钱俶拒绝了南唐后主李煜的求援。南唐亡国后，吴越国唇亡齿寒。塔成之时，吴越国正处于风雨飘摇的末期，但钱俶依然不改敬佛之心，倾其所有，供养佛陀。

展品中的鎏金银阿育王塔即出自雷峰塔地宫，是钱俶专为雷峰塔特制。太平兴国三年（978年），钱俶祭别钱镠陵庙，启程赴开封向北宋皇室纳土献地，为北宋和平统一作出了贡献。

繁华都城的时代风尚

南宋都城的繁华都记录在《梦粱录》中。考古发现，南宋金银器皿的使用非常普遍。上自九重，下至中等以上之家，一般用器都是以金银为主。“最是官巷花作，所聚奇异飞鸾走凤，七宝珠翠，首饰花朵，冠梳及锦绣罗帛，销金衣裙，描画领抹，极其工巧，前所罕有者悉皆有之。”这其中便提到了金银首饰。

此次展出了湖州三天门南宋墓出土的一组金首饰。包括钗、耳环、镯、戒指和帔坠，恰能看出南宋女性装扮的时尚。其中，花筒钗是宋代流行的样式，而镯、戒指和帔坠又印证了《梦粱录》中记载的南宋婚俗：富贵人家准备“三金”作为聘礼，即“金钏、金鋜、金帔坠”。

文人精英引领诗画江南

元明清时期的江南，在艺术及思想方面展现了独特的影响力，诗画一般的自然环境与发达的市场基础，令其成为吸引文人聚集的热土。晚明浙东学者王守仁（别号阳明）以良知之学创“阳明学派”，对明清乃至整个中国近代思想文化产生重大的启蒙作用。受“心学”影响，文人将心灵体验融入艺术创作，以笔墨抒发情怀，描画出一幅幅动人心弦的独特画卷。

本次展覽展出了余姚市文物保护管理所所藏的王阳明楷书《客座私祝》册页。1527年，王阳明奉命离开绍兴，去广西征讨思恩、田州叛乱，临走前将“阳明书院”的事务交给门人管理，并写下了这幅作品，要求挂在厅堂，告诫弟子们刻苦学习，每日向善。两年后，王阳明平定了叛乱，因肺病加重告老还乡，却在回来的路上病逝。

何为心学？简单说来，在心学之前一统天下的是程朱理学提倡的“格物致知”，即真理存在于万事万物之中。心学则反这种传统之说，认为寻求真理要回到自己的内心，每个人的内心都有一套完整的终极真理，这就是回归内心的“致良知”。王阳明的思想产生了巨大反响，曾国藩曾评价说，“王阳明矫正旧风气，开出新风气，功不在禹下”。

越地宝藏，叹为观止！

穿越时空，漫步展厅，从史前到明清，或惊心动魄，或人文诗画……你会发现“越地宝藏”展览中的每一组（件）文物，都对应着一段浙江的历史文化。如果把整个浙江历史比作一场精彩、完整的演出，那么这些文物所对应的历史故事便是其中一出出精彩的“折子戏”。

A stunning set of 100 objects on display at the Zhejiang West Lake Art Museum in Hangzhou takes the visitor on a hypnotizing trip back through time. The modern fa?ade peels away quickly as you confront the evidence of those who lived in this same area as far back in the Paleolithic Age. The 100 exhibits on display at the four-month exhibition held in Hangzhou from June 8 to October 8 were selected from 39 cultural organizations across Zhejiang Province. Behind every exhibit is a magnificent chapter of the history of Zhejiang.

Jade and Liangzhu Culture

The Liangzhu Culture was the last Neolithic jade culture in the Yangtze River Delta of China. The culture was highly stratified， as jade， silk， ivory and lacquer artifacts were found exclusively in elite burials， while pottery was more commonly found in the burial plots of poorer individuals. This division of class indicates that the Liangzhu Period was an early state， symbolized by the clear distinction drawn between social classes in funeral structures. The typical site of this highly influential culture was discovered in Yuhang County， Zhejiang Province.

The jade from this culture is characterized by finely worked large ritual jades， commonly incised with the motif. The most exemplary artifacts from the culture were its . Most of Liangzhus contemporaries had some jades， but 90 per cent of all the cong and jades recovered， and by far the best in quality， are from Liangzhu sites. Jade artifacts unearthed from Liangzhu sites are said to have been influential on the development of other Neolithic cultures in China.

The jade artifacts exhibited， used by the Liangzhu people as symbols for the divine rights， military power and property ownership， reflect the political regime of a nation that was taking shape.

The Rise of Yue People

When the Central Plains was reaching its imperial grandeur in the Spring and Autumn and Warring State Period （770-221BC）， todays Shaoxing was still a seemingly uncivilized corner shunned by the ruling class. However， people living in this forgotten region built their homeland into a world of opulence and enduring prosperity through stunning determination， diligence and courage.

Many of the exhibits， such as a bronze turtle-dove rod and a bronze battle axe， vividly show the hard work of the Yue people living in todays Shaoxing about 2，000 years ago and their lifestyle as well as totemism. One of the bronze artworks excavated from the No.306 tomb site in Shaoxing is a physical evidence of the fusion of two sub-cultures in todays Zhejiang in ancient times.

When people living in the Central Plains were busy making bronze sacrificial offerings， the Yue people were inventing bronze farm tools and weapons. The timeless artistry of a bronze sword made for Shiyu， the son of Goujian （the king of the Kingdom of Yue near the end of the Spring and Autumn period）， can be savored by todays people at the Zhejiang Museum.

The “Secret Color”

Zhejiang Province is the seedbed of porcelain craftsmanship. The heyday of the porcelain industry of the province started from the Tang Dynasty （618-907） and reached its climax in the early years of Northern Song （960-1127）. The Song and Yuan （1279-1368） times saw the rise of the Longquan kilns in southwestern Zhejiang， where the “secret color” of Longquan celadon was born.

The Tang Dynasty saw the celadon artifacts from Longquan crossing the ocean and finding their way into the royal palaces and the living room of aristocratic families in foreign lands. Porcelain became a major contributor of the foreign trade of Zhejiang in the Song and Yuan times. Nearly half of the 20，681 porcelain pieces in a sunken boat found in South Korea in 1976 fall into the Longquan celadon category.

The celadon pieces displayed at the exhibition represent the supreme artistry of artisans from Zhejiang Province. Take a look at the emerald green lust of the artifacts and youll understand why the “secret color” was loved by people all over the world.

Leifeng Pagoda and Asoka Tower

The Five Dynasties， an era of political upheaval in 10th-century China， saw the fall of Buddhism in Central Plains. The state of Wuyue （907-978）， exercising sovereignty in the southeast of the country， became a paradise for Buddhism. The Leifeng Pagoda， a five-story structure built of brick and wood， is the most famous Buddhism legacy from the Wuyue times.

The original pagoda was built in 977 AD at the order of King Qian Chu of Wuyue as a stupa. Construction started in 971. By the time the construction was completed， the State of Wuyue was swaying towards its demise. By that time， Zhao Kuangying had conquered the state of Southern Tang and was only a step away from reunifying most of China proper and effectively ending the tumultuous Five Dynasties and Ten Kingdoms period. However， the Buddhism faith of King Qian Chu remained strong despite such political turbulence.

The miniaturized gilt & silver Asoka tower displayed at the exhibition was made especially for the Leifeng Pagoda at the order of Qian Chu. In 978， Qian Chu yielded to his fate， setting off on his journey to the north， where the younger brother of Zhao Kuangying awaited to acknowledge Qians submission that took a bit longer than the others to arrive.

Womens Fashion of Southern Song

The prosperity of Linan （todays Hangzhou）， the capital of Southern Song （1127-1279）， is vividly illustrated in ， written by Wu Zimu after the dynasty crashed. Archeological findings show gold and silver utensils and jewelry were commonplace in the capital city. The exhibition displayed a set of gold ornaments including hairpins， earrings， bracelets， finger rings and embroidered cape pendants， excavated from the Santianmen site in Huzhou City. The ornaments show the womens fashion in the Southern Song times and serve as convincing physical evidence for the wedding custom at that time.

The Cultural Elites of Jiangnan

The “Jiangnan” region in the Yuan and Ming times of China fostered an elite group of artists and men of letters whose impact on the Chinese culture is unrivalled. The vignette of such influence is Wang Yangming and his philosophy.

Wang Yangming served as an executive assistant in various government departments until he was banished for offending a eunuch in 1506； and in 1519， he was sent out to crack down on the Prince of Ning who launched a rebellion against the central government. Wang miraculously outwitted and defeated the prince. At the age of seventeen， Wang had a conversation with a Taoist priest that left him deeply intrigued with this alternative philosophical system and way of life.

， written by the philosopher before he left Shaoxing in 1527， was one of the highlights of the exhibition. Wang died of an illness on his way home two years later. In the eye of Zeng Guofan， a key minister of the Qing Dynasty （1644-1911）， the contribution of Wang Yangming to the ideological evolution of China “rivals that of Yu the Great”.

Wang Yangming is commonly regarded as the most important Neo-Confucian thinker after Zhu Xi， with interpretations of Confucianism that denied the rationalist dualism of Zhus orthodox philosophy. A core concept of the Yangming School is the dictating power of mind. It is not the world that shapes the mind， he argued， but the mind that gives reason to the world. In other words， the mind alone is the source of all reason.