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  • 《景觀設(shè)計學(xué)》2019年第5期

    作 者：
    曾穎（ZENG Ying），麥詠詩（Vincci MAK），瓦萊里奧?莫拉比托（Valerio MORABITO）等
    類 別：
    景觀
    出 版 社：
    高等教育出版社有限公司
    出版時間：
    2019年10月

俞孔堅?岐山腳下的那方神奇土地——《景觀設(shè)計學(xué)》2019年第5期“主編寄語”

The Wonderland at the Foot of Mount Qishan, By Yu Kongjian 


早在30年前，我就期望能以周人和秦人的視角，去觀察和體驗岐山腳下為他們帶來發(fā)展與繁榮的那片神奇土地。2019年8月，我終于得以懷著無限的思古之幽情，徜徉于這片深邃無底、望不到邊的文化景觀的海洋之中。作為中華文化定型時期（約為秦漢時期前后）各朝代的核心領(lǐng)地，這里的日月星辰、大地景觀，乃至生命萬物的信息，都已融入以漢語為母語的人們共同的文化基因中，深刻影響著他們認(rèn)知、適應(yīng)、再現(xiàn)和改造自然及創(chuàng)造世界的方式，涵蓋價值觀、審美觀和地理空間與方位的吉兇觀等—簡言之，這方土地在很大程度上定義了中國的社會和文化形態(tài)。


我的此次觀察和體驗之旅沿4條線路展開。第一條是沿著周族的遷徙之路，即從北方的旬邑南遷至豳州，再到岐山南麓的周原。這是周人作為農(nóng)耕部落為躲避北方強(qiáng)悍游牧部落而不斷尋求庇護(hù)的生存之路。我幻想跟隨周先祖公劉和古公亶父，仰觀天象、俯察地理，相地開墾、卜宅定都。正如《詩經(jīng)》中《大雅?公劉》和《大雅?緜》所詳細(xì)描繪的那樣，作為部落首領(lǐng)，公劉和古公亶父沿著河流廊道，穿越山間盆地，環(huán)顧四周山巒，在找到安全的潛在領(lǐng)地之后，便登上四周高地，俯瞰河谷綠洲，欣喜于獲取了豐腴的土壤；再下至平原，沿山泉溪流溯源而上，斷定有豐富的水源；再丈量土地，開田地以播五谷，夯土基而筑宮室。[1][2]這種對農(nóng)耕生產(chǎn)和生活環(huán)境的觀察體驗及對盆地型領(lǐng)地的偏好，最終通過《詩經(jīng)》《易經(jīng)》等古老經(jīng)典著作的傳播，成為后世相地術(shù)（風(fēng)水）的基本模式，表達(dá)為理想的風(fēng)水—如左青龍、右白虎、前朱雀、后玄武、中明堂的空間格局意象，又如“利東南、不利西北”的方位吉兇判斷。


第二條觀察線路是跟隨日漸強(qiáng)大的周人，沿渭河一路向東，沖出關(guān)中，橫掃中原，攻滅大商，定都洛邑（今洛陽）。所謂“余其宅茲中國”（見于西周何尊銘文），這也是“中國”二字最早的銘記[3]。正如周文王被囚禁于羑里城而演繹《周易》并將周族在岐山腳下的關(guān)中盆地對農(nóng)耕生活和環(huán)境的觀察與經(jīng)驗進(jìn)行整理一樣，我們有理由論斷“中國”或“中央之國”的領(lǐng)地意象—建立于四周皆有邊界的盆地中的都城—即自此形成，而后隨走出關(guān)中的周族領(lǐng)袖傳至中原大地而銘于文。


第三條觀察線路是向西沿汧水（今千河）溯流而上，尋找秦人發(fā)跡的源頭。途經(jīng)千河與渭河交匯的“汧渭之會”，穿越關(guān)山崎嶇的峽谷——這是中國地理中從第二級階梯向第一級階梯過渡的景觀甬道，僅30km的行程之后，海拔便從900m攀升至2 200m，行至秦非子牧馬之地。秦非子因精通養(yǎng)馬之道，受周孝王之命在汧水與渭水之間肥沃的天然牧場主管牧馬，深受賞識，繼而獲封岐山以西的狹小地帶[4]。經(jīng)過數(shù)百年勵精圖治，秦國以其強(qiáng)悍雄風(fēng)，取周而代之，完成了一統(tǒng)天下的大業(yè)。同時在周朝的“中國”領(lǐng)地意識基礎(chǔ)上，更深刻地實(shí)現(xiàn)了貨幣、度量衡、文字、交通工具等的統(tǒng)一。秦人的這條發(fā)跡之路也給農(nóng)耕民族以溫順避讓為主要特征的文化注入了堅韌與剽悍之風(fēng)。其后的漢王朝更是將秦橫掃六國的氣魄發(fā)揚(yáng)光大，據(jù)稱此時關(guān)山一帶牧養(yǎng)的馬匹數(shù)量達(dá)30余萬[5]，作戰(zhàn)軍隊借此完成了由步兵為主向騎兵為主的轉(zhuǎn)變，可實(shí)現(xiàn)長途奔襲、快速突襲和大迂回，成就了衛(wèi)青、霍去病等開疆拓土、縱橫漠北、卻匈奴于千里之外的豐功偉績。


這處連接關(guān)中與西域的景觀也為中國文化的藝術(shù)形態(tài)注入了骨感和峻美之氣。事實(shí)上，劃分中國兩大自然地理區(qū)域、界定農(nóng)耕與游牧兩種文化的關(guān)山，經(jīng)過無數(shù)詩人的描繪，在中國文學(xué)中已被泛化為象征遠(yuǎn)離故土、戎馬征戰(zhàn)和戰(zhàn)火硝煙的符號，表達(dá)為“遠(yuǎn)方”（Far）和“崇高”（Sublime）之意。這種崇高也通過五代后梁山水畫家關(guān)仝的畫筆表達(dá)了出來。關(guān)仝師承北方山水畫派鼻祖荊浩，并青出于藍(lán)，以其“關(guān)家山水”獨(dú)領(lǐng)風(fēng)騷。其代表作《關(guān)山行旅圖》冠絕當(dāng)代，為后世臨摹效仿，深刻影響了中國的山水美學(xué)。畫中山峰迭起、溪谷幽深，棧道險絕、馱馬凄涼。這里所表達(dá)的“崇高”與陶淵明在《桃花源記》中所表達(dá)的理想農(nóng)耕環(huán)境的“優(yōu)美”（Beauty）完全不同。至此，象征閑適安寧的“優(yōu)美”和象征為生存而抗?fàn)幍摹俺绺摺痹谥袊幕袑?shí)現(xiàn)了完美平衡。


第四條觀察線路是從海拔約500m的渭河谷地一直攀升至海拔約3 750m的秦嶺主峰——太白山。沿太白山的主要溪谷湯峪拾階而上，一路可感受幽谷深處的神秘莫測和生命萬物之豐饒。據(jù)稱峪口湯泉可治百病，所見之草皆可入藥。及至山頂，大面積的冰川遺跡（通常為白雪所覆蓋）和冰斗湖映入眼簾，其景觀與盆地、平原景觀迥異。由此俯瞰關(guān)中盆地，城廓了然、盡收眼底，大有以上帝之眼瞭望凡塵的感覺。無怪乎《尚書?禹貢》謂之“惇物山”[6]，《漢書?地理志》稱之“太乙山”[7]，均是對太白山的豐饒與宛若仙境的表達(dá)。據(jù)稱，岐伯嘗味百草即發(fā)生在太白山一帶，而“藥王”孫思邈則長年居隱太白山中，親自采摘草藥，研究藥物性能。我個人認(rèn)為，傳說中的道教名山昆侖山即以太白山為原型：高峻非羽仙不可及，更有怪獸神鳥、不死之藥、瓊漿玉液和王母瑤池等。這無非是周人、秦人及其子孫后代將白雪冠頂?shù)奶咨奖磉_(dá)為可滿足人世間一切欲望的仙境而已。因而，太白山即昆侖仙境便成為了兼有宗教理想和世俗欲望的完美表達(dá)。


正是周人和秦人對岐山腳下這片土地的認(rèn)知與探索——包括對其賴以生存和發(fā)展的現(xiàn)實(shí)領(lǐng)地的觀察和體驗，以及對美和未來世界的向往和暢想—才有了他們對理想景觀模式的表達(dá)，進(jìn)而發(fā)展為“中國”這一理想領(lǐng)地的意象，以及對崇高山水和昆侖仙境的藝術(shù)表達(dá)。而由于周朝和秦朝在中華文化定型時期占據(jù)著決定性的地位，對岐山腳下這方土地的景觀體驗也注定會在中國的社會和文化形態(tài)的表達(dá)中發(fā)揮關(guān)鍵作用。


For nearly 30 years, I yearned to see and experience the land at the foot of Mount Qishan as though I were the Zhou and Qin people who developed and prospered because of their relationship with the mount. In August 2019, I was finally able to spend time immersed in this glamorous cultural landscape, trying to get connected with the ancient years. This land, the core territory for the Zhou, Qin, and Han dynasties, has significantly made the society and culture of China thrive and grow: the knowledge of the sun, of the moon, of the earth, and of all the beings of this place has been integrated into the culture of Chinese-speaking people, developing into their societal and aesthetic values, as well as the geomancy of a geographic space, which profoundly shaped the way how people cognize, adapt to, and transform the world they live in.


My trip followed four routes. The first was the migration path of the Zhou people (the ancient farming tribes), from the ancient Xunyi City in the north to the ancient Binzhou City in the south, and to the ancient Zhouyuan City at the south foot of Mount Qishan, to seek shelter from the nomadic tribes. On this route, I imagined myself following Duke Liu and Duke Dan (leaders and ancestors of the Zhou people), looking up the sky and down at the ground, selecting sites for farming, homes, and the capital. As described in The Book of Poetry, Duke Liu and Duke Dan moved along the Weihe Valley corridor, crossing basins and ranges in mountains. After finding a safe place for potential settlements, they may have climbed the surrounding highlands to overlook oases and valleys, delighting in the rich soil; they may have traveled down to the plains and to trace mountain streams to find water resource; they may have also measured the land for farms and homes.[1][2] Spread through ancient works such as The Book of Poetry and The Book of Changes, such landscape observation for farming and living and the preference for the basin-shaped territory contributed to forming an ideal Chinese geomancy (Feng Shui) that informs site and position selection and spatial pattern.


The second route I took was the path which the Zhou people took before making the ancient Luoyi City their capital. At that time, the increasingly powerful Zhou people moved along the Weihe River to the east, from the Guanzhong Basin towards the Central Plains to conquer the Shang people and establish a new dynasty, early in which period the term of “kingdom in the center” (the literal meaning of “China” in Chinese) first appeared as recorded by the inscription on He Zun[3], a ritual bronze vessel. King Wen, the founder of the Zhou Dynasty, complied The Book of Changes when being imprisoned by the Shang people, which became a written record of Zhou people’s observation and experience of farming and living in the Guanzhong Basin. For this record, we could infer that the image of a “kingdom in the center” — a capital sitting in a basin with a clear border — was invented by Zhou leaders before inscribed on He Zun.


The third route traveled upstream along the ancient Qianhe River to feel after the prosperous history of the Qin Dynasty. The route passed through the intersection of the Qianhe River and Weihe River, through the cragged gorge of Guanshan Mountain, whose topography transitions from 900 meters to 2,200 meters over only 30 kilometers. The pastures between the Qianhe and the Weihe rivers was where Qin Feizi, the founding king of Qin State, raised horses for King Xiao of Zhou. For his proficiency in horse breeding, Qin Feizi was well-rewarded with a small piece of land to the west of Mount Qishan[4]. After hundreds of years of hard work, the Qin State ended the ruling of Zhou and conquered the other six states throughout the country. Expanding the territorial cognition of the “kingdom in the center” from the Zhou Dynasty, the Qin Emperor unified the nation in currency, metrology, written language, and vehicle size. The unexcelled prosperity of the Qin Dynasty blended a tough and courageous culture into the China’s docile and modest identity as an agricultural nation. Later, the Han Dynasty carried forward Qin’s domineering vigor — It is said that the number of army horses in the Guanshan area reached more than 300,000 during that period[5]. A robust cavalry then formed that made the Han army capable of completing long-distance strikes, rapid assaults, and outflanking. At that time, great military generals such as Wei Qing and Huo Qubing expanded the national territory and kept the Hsiung-nu tribes thousands of miles away.


The landscape along this route that connects the Central Plain Area with the western regions is a unique charm in Chinese art and culture. Guanshan Mountain, which roughly divides China into two parts in geography, as well as in culture (farming and nomadic), has been portrayed by countless poets as a symbol for far and sublime that represents warfare. The sense of sublime has also been reflected in the landscape paintings of Guan Tong, a painter of the Later Liang Dynasty in the Five Dynasties and Ten Kingdoms period. As a student of Jing Hao who was the leading pioneer of the northern landscape painting school, Guan Tong surpassed his teacher in style and legacy. His masterpiece, the Travelling in Mountains, has long been intimidated and profoundly affected China’s landscape aesthetic of towering peaks, steep valleys, dangerous paths, and desolate landscapes. The sublime expressed in Guan Tong’s paintings contrasts the beauty depicted in Tao Yuanming’s Peach Blossom Spring characterized for peace and tranquility, yet the both two coexist and influence the Chinese culture.


Finally, my fourth route climbs from the Weihe Valley to Mount Taibai, the main peak of the Qinling Mountains, which ranges in elevation from 500 meters to 3,750 meters. The mystery and richness of the landscape is evident walking along the Tangyu Valley, a major valley of Mount Taibai. It is said that the spring water here can heal people and all the found plants are therapeutic. The top of the mountain was covered with large areas of snowy glaciers and ice, forming a completely different landscape from the basins and plains. Cities nestled in the Central Plain Basin can be panoramically viewed from this vantage point — Mount Taibai is worthy of its name of the “Mountain of Dunwu” (mountain of richness) by The Book of Documents[6] or the “Mountain of Taiyi” (mountain of mystery) by The Book of Han[7]. It is said that famous Chinese physicians Qibo and Sun Simiao lived here for years to study the properties of herbs. In my personally opinion, Mount Taibai is the archetype of Mount Kunlun, the legendary Taoist site: it rises so high that can only be accessible by gods, and it offers the medicine of immortality. The Zhou, the Qin, and their descendants understand that the snow-covered Mount Taibai was a fairyland that contains all the desires of human world. Thus, Mount Taibai, or the Kunlun Wonderland, perfectly represents both the religious ideals and worldly desires.


It is precisely because of how the Zhou and Qin people explored and envisioned this landscape at the foot of Mount Qishan, both physically as settlements and spiritually as a wonderland, their expression of the ideal landscape model emerged and developed into an ideal territorial image of “kingdom in the center,” as well as the poetic representation of the sublime landscape and the Kunlun Wonderland. Their observation and experience of this landscape in this significant period has greatly fostered and shaped China’s social and cultural identity and made it thriving.


REFERENCES

[1] Wang, X. (Ed.). (2015). Duke Liu in Greater Odes of the Kingdom. The Book of Poetry. Beijing: Zhonghua Book Company.

[2] Wang, X. (Ed.). (2015). Continuity in Greater Odes of the Kingdom. The Book of Poetry. Beijing: Zhonghua Book Company.

[3]He, Z. (2011). The Idea of “Central Country” Recorded in the Inscriptions of He Zun. Wenbo, (6), 32-34.

[4] Guo, F., Zhang, K., & Lv, J. (2000). The Dictionary of Gansu. Lanzhou: Gansu Culture Publishing House.

[5] An, Z. (2006). Horse Breeding and the Breed Improvement in Han Dynasty. Agricultural Archaeology, (4), 273-280, 296.

[6] Wang, S., & Wang, C. (2012). The Tribute of Yu. The Book of Documents. Beijing: Zhonghua Book Company.

[7] Ban, G. (n. d.). Geography (Vol. 28). The Book of Han. Beijing: Zhonghua Book Company.


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