陳榮力

像破巖的地火蘇醒復(fù)活，那簇火在越州的蒼山翠嶺間熒光焯焯;

如熊熊的火炬燎原接力，那簇火在浙東的曹娥江兩岸烈焰赤赤;

似劈云的閃電涅槃新生，那簇火映紅江南一千余年的天空生生不息。

一

我是在大園坪青瓷窯址挖掘即將進(jìn)入尾聲時(shí)，走進(jìn)位于浙東上虞上浦鎮(zhèn)四峰山大園坪窯址挖掘現(xiàn)場(chǎng)的。

那時(shí)，江南的田野里稻穗已經(jīng)灌漿， 村口的桂花尚未隱去最后一縷甜香，除銀杏和烏桕開始泛黃、轉(zhuǎn)紅外，濃綠和深綠依然是四峰山的主宰。滿目的蔥蘢中，遠(yuǎn)遠(yuǎn)眺望四峰山南坡大園坪窯址黃土裸露的挖掘現(xiàn)場(chǎng)，恰如一件綠色的軍裝上別了一枚黃色的徽章。這樣的發(fā)現(xiàn)和比喻，也讓主持大園坪窯址挖掘現(xiàn)場(chǎng)的省考古所專家鄭先生來了興致。

“是的，窯址也可看作是青瓷的一枚徽章。它濃縮了青瓷發(fā)展的歷史和變革，凝結(jié)了燒制技術(shù)的成就和創(chuàng)新，既是一種記載，更是一種見證?！笨脊殴ぷ骱烷L(zhǎng)年野外生活的艱苦單調(diào)，并沒有讓鄭先生變得木訥和刻板，相反，他的交談和講述生動(dòng)風(fēng)趣，充滿了專業(yè)的機(jī)智。隨著鄭先生話題的打開，曾轟動(dòng)青瓷考古界的大園坪青瓷窯址的神秘面紗，在我面前徐徐撩開。

位于四峰山南坡的大園坪窯址，屬東漢晚期青瓷窯址。大園坪窯址暴露出來的青瓷片堆積層厚達(dá)40厘米，所見的器型，幾乎包括了東漢窯址常見的青瓷器型，洗、罐、碗、缽、瓶、瓿、罍、鍾、壇、虎子等一應(yīng)俱全。胎色灰白、質(zhì)地堅(jiān)硬緊密、擊打時(shí)發(fā)聲清亮的大園坪窯址青瓷，釉色青綠、青灰，釉層厚實(shí)，釉面瑩潤(rùn)光潔，極少剝釉、起泡、變形等現(xiàn)象發(fā)生。而弦紋、水波汶、菱形紋、直線紋、網(wǎng)紋、布紋、葉脈紋和貼印鋪首、爬蟲等的印劃、鏤貼等，更是集東漢青瓷紋飾之大成。

鄭先生對(duì)大園坪青瓷窯址專業(yè)又通俗的解讀，指向一個(gè)權(quán)威的結(jié)論：大園坪是迄今為止發(fā)現(xiàn)的東漢窯址中技術(shù)最先進(jìn)、功能最完備，燒制的青瓷器型最全、質(zhì)量最好、紋飾也最豐富的青瓷窯址。換句話說，大園坪作為東漢青瓷窯址的杰出代表，當(dāng)之無愧，意義重大。亦因此， 大園坪窯址和毗鄰的小仙壇、小陸岙窯址一起，被列為全國(guó)第六批重點(diǎn)文物保護(hù)單位。

問及大園坪青瓷窯址之所以能有如此成就的主要原因時(shí)，鄭先生燦然一笑：“關(guān)鍵就一個(gè)字：火?！?/p>

大園坪窯址發(fā)掘的另一重要成果，是兩條龍窯被揭露。尤其是一號(hào)龍窯，殘長(zhǎng)6.36米，寬1.80米，火膛、窯室、排煙坑三大核心部分保留完整。據(jù)推測(cè)，一號(hào)龍窯全長(zhǎng)應(yīng)在13米左右，其窯室殘長(zhǎng)尚有5.2米，寬2.2米，火膛后壁高0.6米。

“如此構(gòu)造和規(guī)模的龍窯，在當(dāng)時(shí)無疑是最先進(jìn)的，也足見那時(shí)青瓷工匠們的聰明和智慧?！编嵪壬猹q未盡，“龍窯的最大貢獻(xiàn)，是解決了火，即青瓷燒制的溫度問題。從陶到原始青瓷，再到成熟青瓷，雖然成功的因素很多，但一個(gè)關(guān)鍵的因素就是燒制的溫度。龍窯的發(fā)明和成熟，將原來立窯、饅頭窯攝氏800～900度的溫度，一下子提高到攝氏1100～1200度，而大園坪的一號(hào)龍窯，據(jù)推測(cè)燒制的溫度可達(dá)攝氏1300度左右?！?/p>

“這真是一簇神奇的火，智慧的火，也是一簇美妙的火??！”離開大園坪時(shí)，鄭先生站在夕陽映照的大園坪，巡望四周隱約可見的小仙壇、大平地、大湖岙、白沙灣等眾多窯址，忍不住感嘆。

那次走進(jìn)大園坪窯址挖掘現(xiàn)場(chǎng)，是2004年的事，屈指算來，距今已十五六年，但每每想及鄭先生的感嘆，總令人怦然心動(dòng)，不勝神往。

二

藉了這樣一份心動(dòng)和神往，這些年來走訪、探尋浙東上虞、紹興、慈溪一帶的東漢、兩晉、南北朝以及隋、唐等各個(gè)時(shí)期的青瓷窯址，成了我的一大愛好。

在以窯址群密集著稱的大湖岙窯址、米夾岙、大樹山、前山、官山、搗臼窩等十幾處窯址，星羅棋布，此迭彼延;在以萌發(fā)秘色瓷聞名的上林湖窯址，翡翠般的瓷片逶邐鋪展，與清澈的湖水融連一片;在山巒起伏田疇阡陌的帳子山窯址，山腳、路邊、溝渠、嶺畔，一不小心你就會(huì)踢著一片古瓷，被半拉窯具磕絆;在列為2014年全國(guó)十大考古發(fā)現(xiàn)的禁山窯址，東漢、西晉、東晉等多個(gè)時(shí)期的窯址依次排列，狀態(tài)典型，恰如打開一卷青瓷發(fā)展的史書。這樣的走訪和探尋，也讓我對(duì)那簇火，對(duì)那簇曾映紅過江南1000余年天空的窯火，有了感性的認(rèn)知和詩意的品讀。

眾多研究資料表明，由新石器時(shí)代問世的陶，進(jìn)入商周即已具原始青瓷的雛形。東漢以降，隨著人口的增多、交往的擴(kuò)大和生產(chǎn)的發(fā)展，釉彩等制作水平進(jìn)一步提升，特別是隨著龍窯技術(shù)的提升，燒制溫度的突破，東漢中期成熟青瓷開始在浙東上虞一帶出現(xiàn)。

任何物質(zhì)文明的問世，既是時(shí)代和社會(huì)的產(chǎn)物，也必定成為其進(jìn)步和發(fā)展的密碼。堅(jiān)固耐用、造型精美、器皿豐富、色澤鮮亮的成熟青瓷一經(jīng)問世，便迅速替代笨重、粗陋、暗黝又易碎的陶器和原始青瓷，成為上至廟堂下至黎庶的最愛?！安芏鸾习亵礌?zhēng)流，白帆如云;會(huì)稽山麓千窯林立，青煙攏日?！蹦遣秽从谝粓?chǎng)制造業(yè)革命的青瓷浪潮，以浙東上虞一帶為核心，波漫江南，浪擊全國(guó)，其美妙的水花甚至濺及東南亞、日本、朝鮮和歐州。據(jù)統(tǒng)計(jì)，僅在浙東上虞，已探明有確定地址和名稱的自東漢至北宋各個(gè)時(shí)期的青瓷窯址便達(dá)158處。

作為世界青瓷發(fā)源地的浙東上虞，東漢中期成熟青瓷之所以發(fā)端于此，仔細(xì)想來絕非偶然。上虞乃河姆渡文化的中心區(qū)域，新石器時(shí)代后期即有燒制陶器的歷史，曹娥江、小舜江便利的水運(yùn)條件，會(huì)稽山、四明山獨(dú)特的瓷土資源和林木茂密的燃料支撐，這些都為成熟青瓷燒制的濫觴和繁榮提供了物質(zhì)保障。而物質(zhì)之外的人，點(diǎn)燃那簇窯火，讓其蔓延、燎原，讓其生生不息映紅江南一千余年天空的青瓷窯工們，更是點(diǎn)土成金的精神動(dòng)能，決定興衰成敗的關(guān)鍵主因。

在走訪、探尋眾多窯址中，有一個(gè)問題總讓我糾結(jié)：由原始的立窯和饅頭窯改為先進(jìn)的龍窯，如此的脫胎換骨到底是因了怎樣的啟迪？這樣的推陳出新又緣于怎樣的魔力？一次，在走訪帳子山窯址時(shí)，一位八十多歲的老者向我講述了一個(gè)美麗的傳說。

東漢早期，曹娥江中游的四峰山、帳子山、拗花山一帶，已是原始青瓷的主要產(chǎn)地。然而因工藝陳舊，燒制溫度無法突破，原始青瓷銷售困頓，窯工生活艱難。有一位叫謝勝的窯工勤勞聰明，燒制技術(shù)更是一把好手，是窯工們的主心骨。為了提高燒制溫度，謝勝扒了小窯建大窯，拆了老窯造新窯，但總不見有大的起色。一天凌晨，電閃雷鳴，一場(chǎng)初夏的雷暴雨驟然而至。雨停了，天也亮了，謝勝早早來到位于半山坡的窯場(chǎng)。但見窯場(chǎng)對(duì)面兩峰相夾的山岙間，一股白色的水霧似一條巨龍，從山腳向山頂滾涌、升騰，巨龍所到之處，樹葉樹杈雜草紛紛裹挾而上。謝勝先是出神地看著，突然，他一下醒悟，興奮得手舞足蹈、大喊大叫。不久后一座依山坡而建的臥窯，出現(xiàn)在窯工們面前。

開窯的時(shí)刻是慌恐和亢奮的，為這座新窯耗透了心血的謝勝，更是緊張得近乎窒息。窯門終于打開了，一片翠綠的熒光從窯內(nèi)射出，謝勝驚呆了，眾人驚呆了， 那熱浪尚存的窯室里，分明是一窯通體翠綠、瑩光锃亮的碧玉?。?那座依山坡而建的臥窯， 恰似一條順坡向上游動(dòng)的蛟龍啊！于是，謝勝和窯工們便把它稱為龍窯。

傳說固然是一種美好的寄托，但透過這種寄托，我們分明可以悟到一個(gè)樸素的哲理：任何物質(zhì)文明的誕生和發(fā)展，都離不了自然界的恩賜，就像機(jī)遇和成功是留給有準(zhǔn)備的人一樣，敬畏自然、親近自然，善于從氣象萬千、美妙神奇的自然界汲取智慧和力量，又何嘗不是一種厚積薄發(fā)的機(jī)遇和天人合一的成功呢！

龍窯的出現(xiàn)，對(duì)成熟青瓷的燒制無疑具有劃時(shí)代的意義。這樣的劃時(shí)代，既在于窯的形態(tài)的創(chuàng)新和顛覆，更緣于火的交響，由此，青瓷奏響了最瑰麗的樂章。

三

在人類的進(jìn)化史和文明發(fā)展史中，火的意義和作用不言自喻?；鸺仁侨祟惣w的智慧，也是共同的成果。然而在不同的地域、各異的文化中，同樣的火分明又躍動(dòng)著各自繽紛的形態(tài)，熔鑄出異彩紛呈的碩果。如果說，西方的火催生了機(jī)器和工業(yè)革命，中原的火誕生了雄渾莊重的青銅器，那么在溫山軟水的江南，在稻香魚肥的浙東，千峰翠色的青瓷，端的是火譜寫的綠色詩篇、結(jié)晶的碧瑩花朵。

總以為那簇火，那簇映紅了江南一千余年天空的窯火，于江南、于浙東，是一種天生的宿命和不朽的傳奇。因了那簇火，平常的泥和水升華為精美堅(jiān)固的器皿精靈;緣了那簇火，千山的蒼翠萬水的秀色涅槃成美輪美奐的永生;憑了那簇火，水樣柔曼的江南熔鑄進(jìn)格物事工的求實(shí)和勇立潮頭的堅(jiān)韌;仗了那簇火，一方地域更鍛打出五千年文明古國(guó)走向世界的物質(zhì)徽章和文化圖騰。

那簇火是汗水是執(zhí)著，那簇火是智慧是開拓，那簇火是一塊叫江南、叫浙東的土地生命的詩意和精神的大纛！

那簇火，注定了要生生不息。

Celadon： Finest Porcelain Born in Fire

By Chen Rongli

It was in 2004 that I visited the excavation site at Dayuanping where archaeologists were exploring the remains of two ancient dragon kilns. The archaeological project was drawing to its end. Dayuanping is in Shangpu Town， Shangyu， which is now a district of Shaoxing in eastern Zhejiang.

The discoveries from the site caused a sensation among archaeologists and celadon experts in the province for two major reasons.

First， the two dragon kilns date back to the last decades of the Eastern Han （25-220AD）. A 40-centimeter-thick layer of celadon shards at the Dayuanping site indicates that the shards are from a full range of celadon utensils seen at all other Eastern Han kiln sites. The clay bodies and glazes suggest a fine craftsmanship rarely seen anywhere else. The clay bodies are solid and give clear and clean sounds when tapped lightly. Glazes on the clay bodies are smooth， bright and clean. The decorative patterns on these shards are an encyclopedia on the celadon designs of the period. In fact， the ancient kilns at Dayuanping represent the best celadon kilns of the era in terms of advanced technology and full function. The celadon shards unearthed there represent the best quality and best range of utensils and best patterns ever seen in the period. The kilns at Dayuanping and two adjacent ancient kiln sites were placed under the national governmental protection in May 2006.

Secondly， the firing technique used at the celadon kilns at Dayuanping explains why the site is so important. Dragon kiln number one， truncated by disuse， damage， and time， is 6.36 meters long and 1.80 meters wide. The fire chamber， the ware chamber， and the chimney pit are well preserved. It is estimated that the original dragon kiln was about 13 meters long. The dragon kiln of this scale and structure represented the best technology of the time. Generally， dragon kilns were able to raise firing temperatures to 1，100 to 1，200 degrees Celsius. The standing kiln and the bun-shaped kiln could only achieve a temperature of 800 to 900 degrees Celsius. Studies indicate that dragon kiln number one at Dayuanping could operate at a temperature of 1，300 degrees Celsius. The higher temperature， as testified by the dragon kiln， made the difference.

The visit to Dayuanping opened my eyes to the ancient kilns in Shangyu and enabled me to understand the importance of these kilns in the history of porcelain making in Zhejiang.

Researches indicate that the pottery which emerged in the Neolithic Age became primitive celadon in the Shang （c. 1，600-1，046 BC） and the Zhou dynasties （1046-221 BC）. In the Eastern Han， porcelain making became advanced as porcelain clay， utensil shapes， and glazes became better. Dragon kilns revolutionized porcelain making. During the middle period of the Eastern Han， kilns in present-day Shangyu were able to produce exquisite celadons.

The porcelain making industry boomed， replacing the pottery and primitive celadons. The technology and products spread to four corners of the country and reached overseas. Now we know the names and sites of at least 158 kilns in Shangyu that existed from the Eastern Han to the Northern Song Dynasty （960-1127）.

It was no accident that celadon took shape in Shangyu in the middle period of the Eastern Han. Shangyu was in the heartland of Hemudu Culture， which flourished （5，500BC to 3，300BC） just south of the Hangzhou Bay in Zhejiang Province. In the late period of the Neolithic Age， pottery making was abundant in the region thanks to rich resources made available by rivers that crossed Shangyu.

No one knows exactly how the first dragon kiln appeared in the history， but local enthusiasts never hesitated to create a story to explain the turning point in the history of porcelain making. I heard a folktale from an old man in his 80s during a field study. According to the old man， a young master was inspired by a dragon-like cloud surging out of a valley during a storm and instantly knew exactly what to do. He built a dragon kiln stretching long upward on a hill slope. The dragon kiln produced the finest porcelain never seen before. It is hard to say whether the revolutionary technology appeared thanks to an epiphany on a stormy day or took form painstakingly bit by bit due to efforts made by craftsmen for better productivity and quality over a long period of time.