陵陽河遺址位于莒南縣陵陽鄉(xiāng)大寺村附近的陵陽河南岸。陵陽河得名于漢代的王陵。該王陵是西漢第一任城陽景王的陵墓，城陽景王是漢高祖劉邦的“糟糠之妻”的長孫。這個(gè)長孫名劉章，雖然其奶奶沒有做成皇太后，太后的位置被呂后取代，但其皇孫的身份和地位卻沒有絲毫改變，而且還有些“橫”的樣子。證據(jù)之一就是敢當(dāng)著呂后的面，在一次家宴上借故殺了一個(gè)呂家的子孫，呂后還不敢怎么樣他；之二就是和劉邦的舊臣們一起，誅滅了呂家的勢力，恢復(fù)了“漢家”的天下，并因此而被分封到莒縣這個(gè)地方，死后也被埋葬在此。劉章陵前這一條小河也就被稱為陵陽河。
　　
　　陵陽河遺址的發(fā)現(xiàn)
　　
　　陵陽河遺址的首次發(fā)現(xiàn)得益于“天公”。1957年，一場洪水暴發(fā)后，陵陽鄉(xiāng)的文書趙明錄在河邊撿拾到一些石器和陶器，于是，一個(gè)著名的遺址被人們所認(rèn)知。1962年，山東省考古專家聞?dòng)崒?shí)地考察后，確認(rèn)這是一處大汶口文化中晚期時(shí)代的遺址，并于第二年會(huì)同莒縣的文化部門對(duì)遺址進(jìn)行了第一次試掘，出土了砭石等150多件原始遺物。
　　
　　正式的發(fā)掘開始于1979年。那時(shí)的考古重點(diǎn)是墓葬，因?yàn)槟乖崧癫貎?nèi)容豐富，發(fā)掘技術(shù)難度也不是很高，遺址現(xiàn)象也容易辯認(rèn)。為了獲取更多的資料，省縣聯(lián)合考古隊(duì)在陵陽河之外，還將發(fā)掘范圍擴(kuò)大到距陵陽河七八公里的大、小朱家村遺址。在大朱家村連續(xù)挖掘了5天，沒有找到什么墓葬，考古隊(duì)只好全部撤回到陵陽河，陵陽河的考古力量因此而得到了加強(qiáng)。但是，由于陵陽河遺址被掩埋在河沙下面，探查起來十分困難，全體人員工作了20多天，也僅僅找到了5座墓葬。
　　5月9日，考古隊(duì)員蘇兆慶和賴修田在河邊洗手時(shí)，無意中發(fā)現(xiàn)了一個(gè)墓葬，這就是著名的6號(hào)大墓。因?yàn)樗�的被發(fā)現(xiàn)，不但鼓舞了士氣，打消了大家對(duì)該地是否還有墓葬的懷疑，而且由此尋找到了遺址上的大墓群，為后來貧富墓葬區(qū)的劃分奠定了基礎(chǔ)，同時(shí)也終于找到了一批號(hào)稱“中華文明曙光”的刻畫圖象。
　　
　　文明曙光的標(biāo)志
　　
　　文字是文明的標(biāo)志，已經(jīng)成為不爭的共識(shí)。但在原始刻畫圖像出現(xiàn)以前，最早的文字是甲骨文和金文。甲骨文是刻畫在龜甲或牛羊骨頭上的文字，是商周時(shí)期占卜的記錄；金文則是刻或鑄在青銅器上的文字。甲骨文和金文都是比較成熟的文字，如此成熟的文字不可能一蹴而就。為此，百余年來眾多文人學(xué)者為尋找文字的源頭和其起始而白發(fā)皓首，始終不得其解。陵陽河遺址的發(fā)掘，首次掀起了漢字的“蓋頭”，讓世人看見了文字的原始形態(tài)，了解到距今5000多年前文字的初始面貌。這一發(fā)現(xiàn)，應(yīng)該稱得上“石破天驚”了。
　　陵陽河的圖像文字共發(fā)現(xiàn)了17個(gè)，除了陵陽河遺址外，還包括陵陽河下游的“杭頭遺址”、周邊的“大朱家遺址”和“仕陽遺址”等出土的圖像。學(xué)者們經(jīng)過深入研究，認(rèn)為陵陽河的圖像和符號(hào)至少有7個(gè)可以斷定為圖像文字。
　　也許，遠(yuǎn)古時(shí)代的陵陽河人也非常明白這些圖像的重要意義，所以，在選擇刻畫器物時(shí)，特別選擇了個(gè)體比較大、器壁比較厚且不易破損的陶器，這就是被考古學(xué)家定名為大口、尖底的“灰陶尊”上。另外，陵陽河人在確定圖像刻畫的具體位置時(shí)，顯然也有認(rèn)真的考慮，那就是都選擇了臨近口沿的陶尊上部。因?yàn)椋�這種尖底、大口尊要想豎立起來，至少要將三分之一的尖底部分栽在土里才行，如果圖像刻畫在中低部位，則很難引起人們的注意，而接近口部的地方，則比較容易讓人們看見。至于有的圖像還被染上朱紅的顏色，則除了宗教迷信的目的外，恐怕也不排除讓圖像醒目的意圖。
　　陵陽河圖像文字常見的有三種，一是號(hào)稱“日月山”的圖像，二是像斧、鑿工具的圖像，三是與酒有關(guān)的圖像。另外，還有關(guān)于祭祀和姓氏等內(nèi)容的圖像。
　　
　　“日月山”圖像具體分下來也有兩種形態(tài)，一是完全形態(tài)，上邊是“太陽”，中間是“月亮”，下部是“五座山頭”。二是不完全形態(tài)，只有“太陽”、“月亮”。這“月亮”的含義，有人認(rèn)為是“云氣”，有人認(rèn)為是“火焰”。關(guān)于“日月山”圖像定義，有人認(rèn)為是太陽初升的含義，可以定義為“旦”。只是“太陽”和“火”的話，可以定義為“昊”。古文昊字有上為“曰”、下為“火”的寫法。但是，也有人認(rèn)為這個(gè)圖像是“物候”的象征。據(jù)說陵陽河源頭的寺崮山就是五座山頭，每當(dāng)春分那一天，站在陵陽河遺址東望，太陽就從最中間的山頭上升起。所以，這一圖像可能就是陵陽河人開始春耕的“物候”記號(hào)。
　　將“日月山”圖像釋義為“旦”、“昊”二字，十分巧合地拉開了文明的序幕，讓象形文字從此走進(jìn)了人類社會(huì)，并演化為獨(dú)特的方塊字，成為中華各民族進(jìn)行交流和歷史記錄的重要工具，使蒙昧從此退出了歷史舞臺(tái)。文明的曙光在中國東方冉冉升起，一個(gè)文明的國度因此而為世界所矚目。
　　
　　酒與酒神圖像
　　
　　和文字的誕生一樣，酒的問世也是人類文明的重要表現(xiàn)。因?yàn)橛辛司�，就使得人類生活方式發(fā)生了重大變化，而且還促進(jìn)和密切了人與人之間的交流和理解。對(duì)于陵陽河人來說，酒的發(fā)現(xiàn)似乎比文字更加重要，也更加為大多數(shù)人所鐘愛。因?yàn)�，在陵陽河已�?jīng)出土的2800件隨葬品中，45%以上的器物與酒有關(guān)，而且在45座墓葬中，共隨葬了663件酒杯類的器物。陵陽河人與酒的關(guān)系由此可見一斑。
　　陵陽河有關(guān)酒的圖像一是濾酒圖像，該圖像好像一個(gè)花盆，王樹明先生根據(jù)其形態(tài)推斷為濾酒表現(xiàn)，后來演化成酒神祭祀的儀式。另一種圖像類似于“凸”字形，其下部有串串水珠或氣泡，象征酒在容器中的發(fā)酵。根據(jù)與甲骨文和金文中類似形象文字的排比，王先生認(rèn)為可將其釋讀為“享”字，“享”也是祭祀的內(nèi)容。這些圖像被刻畫在較大的容器如盆、樽等器物的肩頸部，其含義可能有二:一是感謝神明庇佑，釀酒成功；二是告誡眾人，能夠成功釀造出酒來的器物是靈物，神圣不可侵犯。刻畫上此類圖像并涂抹上朱紅的顏色，其神圣的意義不言自明。
　　
　　陵陽河眾多酒器和釀酒圖像的出現(xiàn)，表明早在五六千年以前，山東東南部地區(qū)就已經(jīng)十分富庶，因?yàn)榫频某霈F(xiàn)是與糧食的多余相關(guān)連的。在食不果腹的情況下，人們是很難形成或流行飲酒習(xí)俗的。
　　古史傳說，陵陽河人所生活的東方沿海地域，是東夷人的天下。東夷的時(shí)代是早于“三代（夏商周）”王朝的土著居民，因此有不少專家認(rèn)為，考古發(fā)現(xiàn)的大汶口、龍山文化人就是古史傳說的東夷人。東夷人的性格比較開朗，感情豐富，能歌善舞，這可能與善于飲酒有密切的聯(lián)系。后來，在東方崛起的商民族，同樣以善飲而聞名，并在社會(huì)生活中形成了“重酒”的習(xí)俗，死后無不隨葬上幾件酒器、酒具，以期在黃泉世界繼續(xù)痛痛快快地喝下去。這種“重酒”習(xí)俗曾經(jīng)讓黃河中上游地區(qū)“重食”的周民族瞠目結(jié)舌，在他們?nèi)〈�商的天下后，其統(tǒng)治者不得不將“戒酒令（《酒誥》）”鑄造在青銅器上，告誡其子孫后代不可因酒誤國。
　　陵陽河遺址區(qū)區(qū)不足50萬平方米的范圍之中，就承載了如此豐厚的文化遺產(chǎn)，不能不說是一個(gè)奇跡。但在如此偏僻的地方集聚了這么多原始寶藏也說明了大汶口文化時(shí)代的社會(huì)進(jìn)步和文明發(fā)達(dá)程度，說明大汶口文化在相同時(shí)代的原始文化中所處的領(lǐng)先位置，這是陵陽河的驕傲，也是東方的驕傲。
　　
　　T he Lingyanghe relics are located along the southern bank of the Lingyang River near Dasi Village, Lingyang Township, Junan County, Shandong Province. The Lingyanghe relics were discovered in the mausoleum of Liu Zhang, who became King Cheng Yang Jing and was a grandson of Liu Bang, the first emperor of the Western Han Dynasty (206 B.C. - 24 A.D.), and his first wife.
　　In history, though Liu Zhang’s grandmother had no chance to become the empress and her position was taken by Empress Lv, Liu Zhang’s capacity as the grandson of the emperor was not impaired at all. On the contrary, he was very arrogant in his wielding of power within the royal family. One prime example of this is that, at a family banquet and in Empress Lv’s presence, he dared to seize some pretext that pleased him and killed one of her grandsons and she could do nothing about it.
　　A second evidence is that, together with Liu Bang’s former ministers, Liu Zhang eliminated the power of the Lv family at the imperial court and restored the power of the Liu family. Through such measures, Liu Zhang gained control of what is present-day’s Junan County in Shandong Province, proclaimed himself to be King Cheng Yang Jing and was eventually buried here. The river in front of his mausoleum came to be known as the Lingyang River, according to his supplementary title as the Lingyang King.
　　
　　Discovery of the Lingyang Relics
　　
　　In 1957, after a heavy rainfall, a person named Zhao Minglu picked up some stone and pottery wares by the riverside, which commenced the discovery of the Lingyanghe cultural relics site. In 1962, after on the spot investigation, the archaeologists of Shandong Province confirmed that this is a relics at the same period of the mid-period of the Dawenkou Culture. In the second year, the first excavation found more than 150 pieces of primitive relics.
　　The formal excavation of the Lingyanghe relics commenced in 1979. At the time, priorities were given to the excavation of the tombs, since they continued many funeral articles and were not difficult to excavate. Later, in order to obtain even more relevant information, the archaeological team expanded the scope of excavation to include the Big Zhujia Village and Small Zhujia Village relics, which are about seven or eight kilometers away from the Lingyanghe relics. However, after five consecutive days of excavation, the archaeological team found no tombs at these sites and had to retreat to Lingyanghe. Since the Lingyanghe relics were discovered under the sand of the river, it was very difficult to dig them out. After more than 20 days of excavation, the archaeological team only found five tombs.
　　
　　Mark of the Dawn of Civilization
　　
　　 Writing is the mark of civilization. Before primitive graphics, the earliest characters in Chinese history were the oracle bone inscriptions and inscriptions on ancient bronze objects, both of which were relatively well developed systems of characters. Over the past century, many scholars have tried to find out the origin of these characters. However, nobody has found the key. The excavation of the Lingyanghe relics, for the first time, reveals the primitive status of the Chinese characters more than 5000 years ago.
　　Among the Lingyanghe relics, 17 graphic characters were found. After deep research, scholars made a conclusion that at least seven of them are definitely graphic characters.
　　
　　Wine and Images of the Wine God
　　
　　Like writing, the discovery and development of various processes for making alcoholic drinks is also a universal mark of human civilization; and each country has its favorites, such as grape wines for the French, beer for the Germans, saki for the Japanese, ouzo for the Greeks, and bai zhou or “white wine” for the Chinese.
　　The appearance of “the wine culture” in China greatly changed the life of human beings here, promoting both communication and understanding. For this reason, the discovery of elements of wine culture among the Lingyanghe relics is even more significant than the discovery of graphic characters. Among the 2800 pieces of funeral articles excavated here, 45% of the articles have relations with wine. Moreover, in the 45 tombs excavated to date, 663 wine ware items were found.
　　The Lingyanghe relics, covering an area of only 500,000 square meters and providing access to so many cultural relics, are the pride of Lingyanghe as well as Shandong and China itself.

相關(guān)熱詞搜索：遺址 古文化 山東 山東古文化遺址之：陵陽河遺址 陵陽河遺址 莒縣陵陽河遺址