文/張從安
序言：
盤古一斧，混沌初開； 龍文炳蔚，遂有華夏。 歷三皇、五帝，秦漢唐宋元明清， 金戈鐵馬與詩書禮樂并耀； 百川朝海，五岳擎天。 撮其菁華，鑄為短賦； 一覽乾坤，萬古在目。
《華夏史賦?夏》（駢儷體）
聞曰：
洪水方割，黎民墊溺；玄圭既錫，九域肇基。赫赫有夏，承舜禪而王天下；昭昭其緒，啟家邦以定雍熙。開三代之先河，鑄九州之鴻范。
觀乎大禹神功，斧劈龍門峽碎，河導(dǎo)三門砥立。乘橇鑿山，忘家而臍胝何惜；隨刊刊木，菲飲而胼胝不辭。遂令岷江歸道，淮泗安瀾；弱水入流，云夢成澤。茫茫禹跡，鐫泰岳而為砥柱；浩浩九疇，肇冀州始奠王畿。
涂山之會，執(zhí)玉帛者萬國；洛水呈圖，負(fù)玄文則神龜。鑄九鼎于荊山，象百物而鎮(zhèn)八方。貢金收牧，畫為五服之制；協(xié)時正日，頒為夏時之彝。
啟承王命，戰(zhàn)甘野而誅有扈；鈞臺享帝，奏九韶以格天神。胤甲居西河，昆吾作陶正。帝孔甲御龍，空留豢龍氏嘆；桀履癸覆舟，終負(fù)犧牝牛之訓(xùn)。
嗚呼！承天景命，啟厥緒于洪荒。定鼎河洛，垂華章于初曙。奠山川之形勝，立禮器之規(guī)矩。雖杼槐有德，履癸失綱，然肇基之功，如江河行地，百世共仰；創(chuàng)制之偉，若日月經(jīng)天，萬代恒光！永懷故鼎，長祀禹王！
《華夏史賦?商》（駢儷文）
序：
玄鳥降祥，契封商土；白環(huán)啟瑞，湯承夏疆。承六百年之鼎祚，鑄十三世之彝章。龜甲鏤天機(jī)而傳薪火，青銅鑄神威以鎮(zhèn)八荒。
玄王肇基，相土烈烈，馴駿馬而馳東野；王亥服牛，帛粟融融，通有無以濟(jì)四方。成湯奮鉞，云霓祈于桑林；伊尹負(fù)鼎，太甲悟于桐鄉(xiāng)。九圍初定，景亳會盟執(zhí)玉帛；三朡既克，仲虺作誥立典常。
觀其神工鬼斧：司母戊鼎鎮(zhèn)山河，饕餮獰厲吞星月；四羊方尊禮天地，蟠螭蜿蜒動玄黃。燎祭于丘，卜骨現(xiàn)兆坼；燔柴于壇，龜甲示吉兇。六百祀兮鬼神掌社稷，十三遷兮臣民逐玄王。
洎乎武丁嗣業(yè)，傅說舉于版筑，婦好征于羌方；鬼方遁逃，荊楚歸藏。祖甲改制，立嫡庶而序宗廟；帝乙征夷，涉孟津而射天狼。奈何紂營鹿臺，酒池浸忠骨；妲惑朝歌，炮烙燼賢良。比干剖心，微子抱器，周戈已指牧野；箕子佯狂，商容死諫，玄鉞終葬殷陽！
嗚呼！天命靡常，惟德是輔。殷鑒未遠(yuǎn)，在夏后之世。縱有通天神巫、饕餮寶鼎，豈敵兆民離析？然則甲骨鑿天書，永存星火；青銅照今古，自證滄桑。洹水湯湯，猶聞《商頌》悲風(fēng)；中原歷歷，長仰玄鳥朝陽！
《華夏史賦?周》（駢儷文）
序：
玄鳥逝而鳳鳴岐，殷鼎遷而周命新。八百年社稷，承天命以續(xù)冕旒；十三王禮樂，立人倫而正乾坤。文武開基，定鼎于河洛；周公吐哺，垂范于古今。
正文：
太公鉞揚，牧野霜飛糜殷甲；召公棠蔭，岐陽日暖發(fā)周粟。踐祚告天：刳紂艦于孟津，燎殷祀于清廟。裂土分茅：魯公受曲阜之璧，唐叔啟晉水之疆。
觀夫周公秉彝：九鼎列序，定郊丘于《司儀》；作樂：六舞和聲，協(xié)鐘磬于《大武》。明堂布政，玉帛會千國之使；井田劃疇，溝洫養(yǎng)萬井之氓。祝聃射肩，王綱雖紊終存禮；石碏誅惡，綱常即隳猶秉刑。
鎬京烽舉，驪山燼冷哭褒姒；洛鼎問輕，王城塵揚散萇弘。齊桓尊王，葵丘盟墨凝星斗；楚莊問鼎，郢都劍氣裂云霓。函谷關(guān)前，青牛西去留紫氣；稷下宮外，白馬東來辯堅白。
九鼎沉泗，猶鎮(zhèn)九州龍脈；七雄裂土，終歸秦俑兵塵；魯壁藏經(jīng)，蝌蚪字存殷周血；漢宮復(fù)禮，冕旒章繼周公魂。
嗚呼！鳳德雖衰，其鳴亦鏘鏘于竹簡；王畿縱裂，其禮猶浩浩于春秋。封建開百代之先河，宗法塑千載之倫常?！堆拧贰俄灐凡唤^，即華夏文脈不絕；周禮未泯，則吾道終古長存！
《華夏賦?秦》（駢儷文）
嘗聞：
西陲牧馬，襄公始列諸侯；函谷豺聲，穆公竟霸西戎。積六世余烈，奮虎賁而掃六合；仗商君峻法，鑄鐵律以一天刑！然金人十二，難鎮(zhèn)戍卒夜呼；馳道八千，終化焦土炬焚。
正文：
孝公革弊，徙木立信懸重賞；張儀連橫，折沖樽俎裂從盟。武關(guān)破楚，斬甲胄于丹水；伊闕潰韓，沉戈矛于洛泓。長平血冷，四十萬魂哭趙壁；易水風(fēng)寒，十三弦柱裂燕宮。
秦王按劍：收鋒鏑鑄金人十二，卷輿圖置宮闕百重。
郡縣如棋，裂封建千年之制；車書同軌，碾江河萬里之封！泰山勒石，篆蟲鳥銘初帝號；靈渠通舸，貫瀟湘接南溟龍。
阿房聳云，蜀山兀而椒壁赤；長城盤蟒，黔首歿而寒骨青。焚書坑儒，咸陽煙灰湮周典；嚴(yán)刑峻法，云陽砧血染秦繩。鮑魚亂臭，沙丘辒辌藏鬼蜮；鹿馬指玄，望夷干戈逼紫庭。
戍卒叫函谷，漁陽篝火灼驪山月；鋤櫌揮鉅野，戲水烽煙卷阿房虹。子嬰素車，軹道霜冷系玉組；楚人炬火，咸陽焰熾焚天穹！
嗚呼！劈混沌開鴻蒙，功過未易量：書同文、度同尺，百代承其規(guī)；刑太峻、役太苛，二世傾其宗。渭水湯湯，猶涌鄭渠碧浪；關(guān)山巍巍，尚屹秦塞古烽。萬世帝業(yè)終成夢，千秋功罪夕陽中！
《華夏史賦?漢》（駢文）
序：
赤帝斬蛇，芒碭云氣破秦闕；白登解圍，平城風(fēng)雪咽胡笳。承暴秦之敝履，以黃老紓黔首；開炎劉之宏基，仗儒法定江山。
高祖按劍：未央宮闕壓百二關(guān)河，大風(fēng)歌嘯卷八千子弟。韓彭裂土，終殞長樂鐘室；白馬盟誓，空鎖異姓王璽。
文景垂裳：太倉粟腐蠹，貫朽不能校；渭橋馬闌干，鞭朽不可驅(qū)。晁錯削藩，七國戈蔽吳楚日；亞夫持重，細(xì)柳營寒胡騎塵。
武帝揮鉞：衛(wèi)霍鐵騎踏祁連冰雪，張班漢節(jié)鑿西域星河。汗血天馬來，葡萄宮闕赤；樓船滄海去，珠崖瘴云開。鹽鐵聚于弘羊，告緡竭于酷吏；《天人》策問仲舒，黜百家尊六經(jīng)。
昭宣承祚：麒麟閣上圖勛臣，鹽鐵論中辯民瘼。解憂琵琶融烏孫月，馮嫽錦車定龜茲沙。鄭吉都護(hù)，屯田輪臺烽燧立；陳湯捷書，明犯強(qiáng)漢懸首槁！
元成儒冠敝：槐里朱云折檻死，未央銅仙承露凋。王莽篡鼎，《周官》偽飾欺天祿；綠林舉燹，昆陽雷雨崩新朝。
光武再興：云臺列宿耀南陽故舊，度田令沮傷豪強(qiáng)肝腸。明章繼踵，白虎辯經(jīng)凝共識；黨錮禍起，太學(xué)清議化劫灰。黃巾符水浸八州 西邸鬻爵蝕千城。董卓燃雒陽，銅駝荊棘埋漢祚；曹丕受禪臺，赤霄殘陽泣未央！
贊曰：煌煌炎漢，冠絕古今：鑿空萬里，絲路駝鈴傳佛火；熔鑄九流，石渠遺經(jīng)立道標(biāo)。雖莽操竊鼎，猶存蘇武節(jié)旄；縱宮闕丘墟，不廢太史汗簡！惟見茂陵石馬嘶秋風(fēng)，長憶關(guān)河明月照漢疆。
《華夏史賦?三國》
序：
炎精幽黯，黃巾裂九野之疇；漢祚崩摧，董卓燃雒陽之闕。九州鼎沸，豪杰并起于蒿萊；千里骨枯，英雄競逐于鋒鏑。
孟德奮劍，青州兵掃兗豫塵；本初矜驕，界橋火焚冀州幡。徐州淚盡，泗水為之不流；官渡炬燃，烏巢竟化焦土。玄德織席，仁聲結(jié)云霓于新野；孫氏坐斷，吳鉤鎮(zhèn)江濤于柴桑。
赤壁風(fēng)起：周郎火舸熔天塹，諸葛羽扇鎮(zhèn)戎機(jī)。華容道窄，青龍刀冷釋梟雄；渭水陣寒，虎騎鳴破西涼甲。荊州索地，吳蜀裂猇亭烽燧；夷陵火燒，漢主泣永安白帝。
五丈原秋，出師表竭孤星淚；合肥城血，逍遙津寒小兒啼。襄平城屠，公孫淵首懸魏闕；南中藤甲，諸葛鼓驚孟獲魂。洛水浮圖初現(xiàn)佛光，遼東滄海竟葬公孫！
司馬藏鱗，高平陵變奪神器；姜維瀝膽，劍閣月冷照孤忠。金陵王氣，枯骨曾煨孫皓鼎；洛陽宮闕，降幡終豎劉禪門。銅雀臺傾，二喬杳然成舊夢；臨漳水濁，七子藻采化劫灰。
悲夫！爭正統(tǒng)而三分河岳，殉節(jié)義則萬古云霄：武圣青龍，義薄滄海非關(guān)勝??；文姬胡笳，哀動朔漠豈論尊卑？縱使國滅鼎遷，猶聞隆中策對驚雷，建安風(fēng)骨凌霄！惟見鄴西殘簡埋香冢，長江浩蕩送漁樵。
《華夏史賦?晉》（駢儷文）
惟見：
三國紛爭，金戈鐵馬終成夢；司馬崛起，四海歸一啟晉章。承兩漢之遺風(fēng)，開六朝之先聲。然其興也勃，其亡也忽，興衰榮辱，皆成華夏歷史之鏡鑒。
西晉肇基：司馬韜略，高平陵變，誅曹爽而攬大權(quán)；景文繼業(yè)，平淮南而固根基。武帝受禪，登大寶于洛陽，改元泰始；三國歸晉，統(tǒng)六合于宇內(nèi)，四海咸寧。
太康盛世，經(jīng)濟(jì)繁榮，牛馬被野，余糧棲畝；文化昌盛，張華博學(xué)，左思賦成而洛陽紙貴；傅玄剛直，著書立說以匡時弊。然分封之制，埋下禍根；門閥之盛，壟斷朝綱。
賈后弄權(quán)，牝雞司晨，引發(fā)八王之亂；五胡趁勢，揭竿而起，開啟永嘉之禍。洛陽城破，懷帝蒙塵；長安淪陷，愍帝受辱。神州陸沉，蒼生涂炭，西晉之祚，至此而終。
元帝南渡，衣冠渡江，建東晉于江左；王馬共天下，權(quán)臣主政，朝廷初定。祖逖北伐，中流擊楫，志復(fù)中原；庾亮謀國，舉措失當(dāng)，引發(fā)蘇峻之亂。
桓溫跋扈，三次北伐，欲立不世之功；謝安從容，淝水之戰(zhàn)，力挽狂瀾之局。風(fēng)聲鶴唳，草木皆兵，前秦百萬雄師灰飛煙滅；東山再起，談笑風(fēng)生，東晉半壁江山得以保全。
然東晉之內(nèi)，門閥爭斗不斷，皇權(quán)旁落；桓玄篡位，改號為楚，一度顛覆晉室。劉裕崛起，平定叛亂，恢復(fù)晉祚，終代晉自立，開啟南朝之序。
魏晉風(fēng)度，名士風(fēng)流，竹林七賢，縱酒放誕，寄情山水之間；清談玄學(xué)，辨析名理，探討宇宙人生之真諦。
書法藝術(shù)，王羲之蘭亭集序，飄若浮云，矯若驚龍；繪畫技藝，顧愷之洛神賦圖，形神兼?zhèn)?，栩栩如生?/p>
文學(xué)創(chuàng)作，田園詩派，陶淵明歸園田居，質(zhì)樸自然，超凡脫俗；游仙詩風(fēng)，郭璞游仙詩，奇幻瑰麗，意境深遠(yuǎn)。
嗚呼！晉朝興衰，宛如黃粱一夢。西晉統(tǒng)一，本有開萬世之基的宏愿；東晉偏安，亦有復(fù)神州之望的豪情。然內(nèi)憂外患，終致國破家亡。
然晉朝文化之璀璨，如繁星閃耀于歷史長河。魏晉風(fēng)度，影響后世文人之氣質(zhì)；書畫文學(xué)，奠定華夏藝術(shù)之根基。
雖朝代更迭，晉朝之精神與文化，已融入華夏民族之血脈，激勵后人不斷奮進(jìn)，為實現(xiàn)民族之復(fù)興而努力拼搏！
《華夏史賦?南北朝》（駢文）
自晉鼎南遷，中原板蕩。五胡紛擾，九州裂而干戈競起；南北分治，四海隔而音信難通。然文明未泯，各展其華；教化相濟(jì)，共鑄新章。
拓拔龍興，起于朔漠之野；鮮卑鷹揚，定鼎平城之郊。太祖開基，離散部落，變游牧而為耕桑；孝文改制，遷都洛陽，易胡服而習(xí)華風(fēng)。尊孔崇儒，立太學(xué)以育賢才；正音定姓，通婚姻以融胡漢。
六鎮(zhèn)烽火，燃盡舊制根基；爾朱狂悖，攪亂朝堂綱紀(jì)。高歡崛起，建霸府于鄴城；宇文雄圖，立關(guān)隴之集團(tuán)。東西對峙，邙山喋血，將士捐軀；玉璧鏖兵，智謀交鋒，烽火連天。
北齊荒淫，后主沉迷聲色，朝政腐敗；北周明睿，武帝滅佛強(qiáng)兵，國勢日隆。楊堅代周，隋文有統(tǒng)一之志；陳橋兵變，華夏啟新朝之端。
司馬渡江，衣冠南渡，保晉祚于江左；王謝風(fēng)流，蘭亭雅集，寄情思于山水。元嘉草草，封狼居胥終成夢；佛貍南下，瓜步烽火映殘陽。
蕭梁崇文，武帝佞佛，寺塔林立；侯景亂政，金陵涂炭，繁華成燼。陳霸先奮起，定亂局于危難；陳后主昏庸，失江山于綺夢。
南朝四百八十寺，見證興衰榮辱；江左風(fēng)流數(shù)百年，留下翰墨華章。文學(xué)昌盛，謝靈運山水之詩，清新自然；鮑照邊塞之賦，慷慨悲涼?？萍检橙?，祖沖之算歷精準(zhǔn)，領(lǐng)先世界；陶弘景著書濟(jì)世，澤被后人。
雖南北分治，然交流未絕。貿(mào)易往來，絲綢茶葉通胡市；文化傳播，詩詞經(jīng)史入北庭。藝術(shù)互鑒，佛像雕刻融合南北風(fēng)格；音樂舞蹈汲取各族精華。
文人雅士，或南來北往，交流學(xué)問；或隱居山林，寄情山水。南北思想碰撞，哲學(xué)思辨盛行，玄學(xué)與經(jīng)學(xué)爭鳴，佛教與道教共榮。
嗚呼！南北朝兮，風(fēng)云變幻之世；華夏史兮，多元融合之章。北朝尚武，開疆拓土，盡顯豪邁氣概；南朝崇文，吟詩作畫，飽含風(fēng)雅情懷。雖戰(zhàn)亂頻仍，然文明傳承不息；雖分崩離析，然統(tǒng)一大勢所趨。
看今日華夏，民族團(tuán)結(jié)，山河壯麗。憶往昔南北朝，感慨萬千。愿吾輩銘記歷史，傳承文明，為中華之復(fù)興而砥礪前行！
《華夏史賦?隋》（駢儷體）
序：
自晉室播遷，南北分治，干戈擾攘，蒼生涂炭久矣。隋文應(yīng)天順人，受禪踐祚，平陳定亂，九州復(fù)歸一統(tǒng)，四海重鑄同文。惜其興也驟，其亡也忽，然制度典章，多為后世垂范，功過是非，皆留于青史評說。
周室衰微，楊堅攬權(quán)，靜帝遜位，隋運初開。隋文雄略，革故鼎新，建新都于龍首，立三省以分權(quán)。頒開皇之律，刑網(wǎng)寬平；行均田之制，民業(yè)得安。
北擊突厥，分化其勢，沙缽略稱臣，北疆靖謐；南滅陳朝，舟師競渡，韓擒虎破城，金陵易主。六合混一，南北歸心，結(jié)束紛爭之局；五方同軌，車書一統(tǒng)，開啟治世之端。
煬帝嗣位，好大喜功，修馳道以暢交通，筑長城以固邊防。更有大業(yè)宏舉，開運河以通南北，通濟(jì)邗溝，連接河淮，永濟(jì)江南，暢達(dá)江海。
然其為政苛暴，徭役繁興，民不堪命，四方怨起。三征高麗，勞師無功，百萬雄師，折戟沉沙。民變蜂起，群豪并立，瓦崗聚義，竇建德稱雄。
江都兵變，帝殞賊手，隋祚終了，盛景成空。天下重陷紛擾，山河再染血腥。
隋代雖短，文化粲然。劉焯制歷，皇極精準(zhǔn)；巢元方論病，諸病源候?？婆e肇始，打破門閥，寒士有進(jìn)身之階；藏書聚典，嘉則殿中，典籍得于庋藏。
軍事亦彰，府兵改制，兵農(nóng)合一，戰(zhàn)力增強(qiáng)；水軍縱橫，海戰(zhàn)初興，聲威遠(yuǎn)揚。
嗟乎！隋如流星，一瞬光華，其興也速，其亡也亟。然一統(tǒng)之功，澤被后世；制度之創(chuàng)，影響千秋。運河通流，至今利國；科舉取士，開啟賢路。
雖有煬帝之暴，難掩隋文之治。觀其成敗，可為后世之鑒。惟愿華夏，以史為鏡，興利除弊，長治久安，共筑盛世之基，永享太平之福。
《華夏史賦?唐》（駢文）
嘗聞：
關(guān)隴起劍，太原旌旗卷隋祚；玄武濺血，秦王府門開新元。納四夷而包寰宇，萬國衣冠拜冕旒；融胡漢以鑄雄魂，百載升平繼周漢。
太宗提銳：渭橋單騎退突厥，凌煙丹青銘股肱。房謀杜斷，凝朝堂智策；魏征犯顏，懸水舟箴鑒。玄奘踏雪，天竺佛光融雁塔；文成入蕃，邏些柳色綠唐風(fēng)。
明皇秉政：憶昔開元全盛日，小邑猶藏萬家粟。市列波斯瑟瑟，胡商絡(luò)繹于絲路；樂參龜茲琵琶，霓裳翩躚于驪宮。鑒真帆舉，滄海鯨波渡瀛島；晁衡淚泣，長安明月照遣唐。
漁陽鼙鼓動地來，馬嵬坡下蛾眉?xì)?。郭李鏖兵，香積寺前血漂杵；睢陽裂眥，雎陽城頭齒碎刃。藩鎮(zhèn)牙兵裂河朔，宦者索甲亂丹墀。
永貞革新，二王八司馬志斷南荒；會昌滅佛，三武一宗法振頹綱。黃巢賦菊，金甲浸天焚宮闕；朱溫弒帝，白馬驛前清流沉。
贊曰：煌煌巨唐，冠絕八荒：太白舉觴，黃河之水凝作盛唐膽魄；少陵頓筆，秦州雜詩滴成亂世悲痕?？v有安史裂疆，猶存顏公祭侄筆骨；雖遭朱梁篡鼎，不滅敦煌窟壁佛光！惟見曲江菰蒲咽秋雨，長憶絲路駝鈴送夕陽。
《華夏史賦?宋》（駢儷文）
贊曰：
陳橋黃袍，終結(jié)五代干戈；斧聲燭影，肇起汴梁新章。重文偃武，開偃月城闕之盛；納幣輸帛，隱澶淵烽火之殃。
太宗繼烈：崇文殿藏萬卷書，三館學(xué)士論經(jīng)筵。交子始行，蜀地賈坊通財貨；水運儀象，蘇頌樞輪轉(zhuǎn)天光。清明上河，虹橋輻輳參差十萬戶；相國霜鐘，瓦肆勾欄繚繞三百弦。
慶歷新政：范仲淹疏論十事，歐陽修倡革冗濫。熙寧變法，青苗市易撼國本；元祐更化，洛蜀朔黨裂朝堂。沈括筆談，錄活字磁針之智；蘇子泛舟，賦赤壁水月之章。
幽云未復(fù)，聯(lián)金滅遼啟虎噬；汴京忽陷，二帝北狩泣龍荒。岳王北伐，朱仙鎮(zhèn)外鐵騎寒；秦檜南謀，風(fēng)波亭前忠魂冷。胡馬窺江，建炎倉皇浮海舶；臣民蹈海，崖山怒浪吞殘陽！
半壁偷安，西湖暖風(fēng)醉畫舫；孤忠不滅，陸游詩劍鏗北望。辛詞裂石，挑燈看劍夢吹角；清照漱玉，載愁舴艋吟西風(fēng)?！锻ㄨb》煌煌，資治鏡鑒照興廢；《營造》翼翼，法式木作傳棟梁。
《華夏史賦?元》（駢儷文）
序：
斡難河沸，蒼狼白鹿生英雄；漠風(fēng)卷纛，九旄大纛裂金垣。踏賀蘭石碎西夏國祚，絕長江濤降臨安冕旒。輿圖括四海而逾漢唐，驛路通八荒乃繼隋元。
太祖奮戟：怯薛軍摧花剌子模城闕，哲別箭驚欽察部冰原。四獒裂陣，血染多瑙河夕照；三征西夏，骨埋賀蘭山秋霜。
世祖揮旄：襄樊砲火焚宋室肝膽，崖山海浪吞趙氏冕裳。大都龍闕，萬邦貢使拜金階；澎湖帆影，舟師首置控滄溟。
行省制立：云南吐蕃納王化，嶺北遼陽歸版章。會通河漕，江南米粟輸京闕；市舶司開，刺桐港泊波斯舫。郭公測晷，四海測驗定授時；黃婆傳技，松江烏泥化霜紈。
也里可溫十字耀教堂穹頂，八思巴字敕頒州縣公文。關(guān)卿憤筆，罵天罵地《竇娥冤》；松雪揮毫，承晉繼唐《膽巴碑》。驛站星馳，商賈載葡萄酒至；運河舟滿，漕工運高麗粟還。
阿合馬斂財，民怨沸于燕市；紅巾軍舉燧，烽火灼及上都。石人謠讖，黃河故道裂鼎鼐；徐達(dá)揮師，大都駝鈴咽秋風(fēng)。北狩朔漠，黃金家族歸牧馬；南望中原，蒙漢血脈已交融。
嗟呼！赫赫巨元，功過昭然：鐵蹄踏歐亞，擴(kuò)華夏幅員至極；驛路通寰宇，開東西交融先河。雖分民四等，終融血一家；縱國祚未永，猶遺澤千秋！最嘆渾天儀刻回回星圖，永憶盧溝月照萬國石獅。
《華夏史賦?明》（駢文）
嘗聞：
紅巾燎原，濠州寒微起真龍；金陵定鼎，洪武雄略掃胡塵。收幽云于北漠，復(fù)漢家冠冕；立綱常于八荒，定洪武法典。
太祖布衣：高筑墻緩稱王九字定鼎，廢丞相誅勛貴六部集權(quán)。屯田令下，軍戶耕戰(zhàn)安黎庶；大誥頒行，剝皮實草懾貪贓。徐達(dá)揮師，大都駝鈴咽殘月；傅友征滇，洱海波平定邊陲。
成祖奮武：靖難鐵騎踏破金川門，永樂鴻圖遷鼎順天府。五征漠北，斡難河邊飲戰(zhàn)馬；七下西洋，巨舶帆映蘇門雪。紫禁嵯峨，金鑾玉階承天命；大典浩瀚，古今文脈聚玄武。
仁宣繼業(yè)：三楊輔政，臺閣體潤治世章；藩籬罷航，寶船朽折滄波里。英宗蒙塵，土木堡驚傳九廟；于公砥柱，京師血戰(zhàn)捍山河。一條鞭啟，張居正丈田清賦稅；萬歷怠朝，礦稅監(jiān)吸血噬民膏。
戚帥橫戈，義烏兵寒倭寇膽；繼光筑城，薊鎮(zhèn)垣鎮(zhèn)朔漠風(fēng)。碧蹄館血，萬歷援朝摧豐臣；料羅灣火，芝龍焚艦震紅夷。澳門葡舶泊，濠鏡漸開互市港；呂宋華商淚，異域空埋忠義骨。
闖王進(jìn)京，九邊烽火潰天險；崇禎泣廟，煤山槐樹懸孤忠。三桂開關(guān)，建州鐵騎破山海；可法裂眥，揚州十日化焦土。延平焚裳，金廈孤帆抗王師；查山絕筆，舟山萬骨葬南明。
嗟呼！巍巍巨明，剛?cè)岵?jì)：復(fù)漢家衣冠，立不征之國顯胸襟；困程朱囹圄，興八股取士錮才思?？v有廠衛(wèi)蔽日，猶存海瑞抬棺傲骨；雖遭闖獻(xiàn)傾廈，不滅陽明心學(xué)輝光！最嘆長城龍脊蟠燕塞，猶見《天工》墨香傳稼穡。
《華夏史賦?清》（駢儷文）
序：
建州龍興，十三遺甲起白山；撫順誓師，七大恨檄裂明垣。破松錦而收關(guān)隴，八旗鐵騎卷黃沙；平三藩以定臺澎，九龍華蓋耀紫宸。
圣祖秉鉞：尼布楚約定北疆界，烏蘭布通破準(zhǔn)部營。永不加賦，滋生冊載萬民樂；皇輿測象，西洋儀繪坤與全。
高宗繼烈：十全武功收西域，金瓶掣簽定雪域。四庫修書，千古文章歸禁苑；萬園筑景，歐式水法噴玉泉。然閉關(guān)令下，廣州獨口通商舶；文字獄起，莊氏史案戮江南。
鴉片煙泛伶仃洋，虎門灰飛林公戟。白門條約，江寧港開五口岸；金田舉旗，天京城變九春秋。僧王浴血，大沽炮臺碎英艦；曾帥結(jié)營，湘軍楚幟克金陵。
師夷長技，安慶軍械鑄槍炮；自強(qiáng)求富，馬尾船塢造輪舟。幼童渡海，新大陸習(xí)格致學(xué)；電報飛線，津滬路通紫竹林。惜北洋水師，鐵甲雖堅終沉浪；痛馬關(guān)條約，臺澎盡割泣孤臣。
戊戌喋血，菜市口湮六君子；庚子禍亂，八國兵焚圓明園。武昌槍震，楚望臺摧黃龍旆；溥儀遜位，乾清宮落十二章。
嗟呼！悠悠大清，功過昭彰：開疆逾漢唐，定華夏今日版廓；守成困祖制，誤寰球變革潮向。有林督銷煙壯民族氣節(jié)，見左公植柳護(hù)天山雪疆。嘆江南制造局銹蝕未成工業(yè)火種，惜嚴(yán)復(fù)天演論驚醒終缺變法土壤！惟留沈陽故宮藏騎射遺弓，猶聽京昆皮黃唱《鎖麟》滄桑。
A Collection of Odes to Chinese History (Chronological Order)
By Zhang Cong'an
Preface
Pangu split chaos with one axe; the dragon script shone bright, and thus Huaxia was born. Through the Three Sovereigns, Five Emperors, and dynasties of Qin, Han, Tang, Song, Yuan, Ming, and Qing, the clash of swords and the melody of poetry and rituals flourished side by side. Hundred rivers converge into the sea; five great mountains prop up the sky. Extracting their essence, I forge these short odes—glimpse the universe, and ten thousand ages come into view.
Ode to the Xia Dynasty (Parallel Prose)
As the saying goes:
When floods submerged the land, the people suffered; when the dark jade tablet was bestowed, the nine regions laid their foundation. The glorious Xia inherited the abdication of Shun and ruled the world; its brilliant legacy began with Qi establishing a hereditary state to bring peace. It pioneered the Three Dynasties and set the grand model for the nine provinces.
Behold Yu the Great's divine achievements: his axe split Longmen Gorge, and he guided rivers through the Three Gates, where pillars stood firm. Riding a sled to chisel mountains, he forgot his family and cherished not his calloused hands; cutting paths through forests, he drank frugally and never shirked hardships. Thus, the Minjiang River returned to its course, the Huai and Si Rivers calmed; the Weak Water flowed into the sea, and Yunmeng became a vast marsh. Yu's boundless trails were carved on Mount Tai as a pillar of stability; the nine great plans originated in Jizhou, laying the capital's foundation.
At the Gathering of Tushan, ten thousand states brought jade and silk; when the Luo River presented the diagram, a divine tortoise bore the mysterious text. Nine tripods were cast at Jingshan, symbolizing all creatures to safeguard the eight directions. Gold tribute was collected, pastures regulated, and the five zones of governance were drawn; seasons and calendars were aligned, promulgated as the permanent rituals of the Xia.
Qi succeeded the royal mandate, fought at Ganye, and executed You Hu; he feasted as emperor at Juntai, playing the Nine Shao music to invoke the gods. Yin Jia resided in Xihe; Kun Wu served as the pottery supervisor. Emperor Kong Jia tamed dragons, leaving only the dragon-keeper's sighs; Jie Lügui, like a capsized boat, finally betrayed the teachings of the sacred ox.
Alas! Bearing the heavenly mandate, it began its legacy in the primeval wilderness. Establishing its capital in the Heluo region, it left magnificent chapters at the dawn of civilization. Defining the land's landscapes and establishing rituals for ceremonial vessels—though Zhu and Huai were virtuous rulers and Lügui lost his way, the merit of founding the dynasty endures like rivers flowing across the earth, revered for a hundred generations; the grandeur of its institutions shines like the sun and moon crossing the sky, eternal for ten thousand ages! Forever cherish the ancient tripods, and perpetually worship Emperor Yu!
Ode to the Shang Dynasty (Parallel Prose)
Preface:
A mysterious bird descended bearing auspiciousness, and Qi was enfeoffed in the Shang land; a white ring appeared as an omen, and Tang succeeded the Xia's territories. Inheriting 600 years of imperial fortune, it forged thirteen generations of rituals and regulations. Tortoise shells inscribed with heavenly secrets passed down the torch of civilization; bronze artifacts cast with divine power safeguarded the eight wildernesses.
The Dark King (Qi) laid the foundation; Xiang Tu, valiant and vigorous, tamed fine horses and galloped across the eastern plains. Wang Hai domesticated oxen, bringing prosperity to silk and grain trade, facilitating exchanges between regions. King Cheng Tang raised his battle axe, praying for rain in the mulberry forest; Yi Yin carried his cooking pot (offering advice), and Tai Jia repented in Tongxiang. The nine realms were initially stabilized, with alliances formed at Jingbo where jade and silk were exchanged; after defeating San Zong, Zhong Hui drafted edicts to establish laws.
Behold their extraordinary craftsmanship: the Simuwu Cauldron stood guard over mountains and rivers, its taotie pattern ferociously devouring stars and moon; the Square Zun with Four Sheep worshipped heaven and earth, its coiled chi dragons writhing in black and yellow hues. Sacrifices were offered on mounds, with cracks on oracle bones revealing omens; burnt offerings were made on altars, where tortoise shells indicated good or ill fortune. For 600 years, ghosts and gods were believed to govern the state; through thirteen capitals relocations, officials and commoners followed the Dark Kings.
When Wu Ding ascended the throne, Fu Yue was lifted from construction work, and Fu Hao campaigned against the Qiang tribes; the Gui Fang fled, and Jingchu submitted. Zu Jia reformed the system, establishing primogeniture to order ancestral temples; Di Yi campaigned against the Yi tribes, crossing Mengjin to confront the "Celestial Wolf" (enemies). Alas, Zhou built the Deer Platform, his wine ponds drowning loyal bones; Daji bewitched him in Chaoge, and the burning pillar torture incinerated virtuous ministers. Bi Gan had his heart torn out, Wei Zi fled with the imperial jade seals, and Zhou's armies already pointed to Muye; Ji Zi feigned madness, Shang Rong remonstrated unto death, and the black battle axe finally buried Yin Yang!
Alas! Heavenly mandate is not permanent—it favors only virtue. The lesson of Yin is not far off, seen in the Xia Dynasty. Even with divine shamans and precious taotie cauldrons, how could they resist the alienation of the people? Yet oracle bones carved with heavenly scripts preserve the spark of civilization; bronze artifacts illuminating past and present bear witness to vicissitudes. The Huan River flows on, as if still echoing the sad wind of the "Odes of Shang"; the Central Plains stand clear, forever revering the rising sun of the mysterious bird!
Ode to the Zhou Dynasty (Parallel Prose)
Preface:
As the mysterious bird departed, a phoenix sang on Mount Qi; as the Yin tripod was transferred, the Zhou mandate was renewed. With 800 years of statecraft, it inherited the heavenly mandate to continue the imperial crown; with thirteen kings promoting rituals and music, it established human relations to rectify heaven and earth. Kings Wen and Wu laid the foundation, establishing their capital in the Heluo region; the Duke of Zhou spat out his food to receive guests, setting an example for all ages.
Main Text:
Tai Gong raised his battle axe, and the frost of Muye scattered Yin's armor; Shao Gong's catalpa tree provided shade, and the warm sun of Qiyang distributed Zhou's grain. Ascending the throne, they sacrificed to heaven: hacking Zhou's warships at Mengjin and burning Yin's ancestral temples in the Qingmiao. Enfeoffing lands and bestowing titles: the Duke of Lu received the jade tablet of Qufu, and Tang Shu opened the territories along the Jinshui River.
Behold the Duke of Zhou upholding rituals: nine tripods arranged in order, defining suburban sacrifices in the "Ceremonies of Reception"; composing music: six dances harmonizing, coordinating bells and chimes in the "Great Martial Dance". Governing from the Mingtang, jade and silk received envoys from a thousand states; dividing fields into well patterns, irrigation ditches nourished farmers of ten thousand wells. Zhu Dan shot the king's shoulder—though royal authority was disrupted, rituals endured; Shi Que executed his evil son—though moral principles declined, punishments were enforced.
Beacon fires blazed at Haojing, and the cold ashes of Lishan mourned Bao Si; the Luoyang tripod was questioned lightly, and dust rose over the royal city as Chang Hong perished. Duke Huan of Qi honored the king, and the alliance of Kuiqiu sealed with ink shone like stars; King Zhuang of Chu inquired about the tripod, and the sword energy of Yingdu split the clouds. Before Hangu Pass, a green ox departed westward, leaving behind purple qi; outside the Jixia Academy, white horses arrived from the east to debate "hardness and whiteness" (philosophical concepts).
Though the nine tripods sank into the Si River, they still guard the dragon vein of the nine provinces; the seven powers divided the land, ultimately succumbing to the soldiers of Qin's terracotta army. Confucian classics hidden in the Lu wall preserved the blood of Yin and Zhou in tadpole script; the Han court restored rituals, and the imperial crown inherited the soul of the Duke of Zhou.
Alas! Though the phoenix's virtue declined, its song still resounds loudly in bamboo slips; though the royal domain split, its rituals remain vast in the Spring and Autumn Annals. Feudalism pioneered a model for a hundred generations, and patriarchal clan system shaped ethical norms for a thousand years. As long as the "Elegances" and "Odes" endure, the Huaxia literary vein endures; as long as Zhou rituals are not lost, our way shall exist forever!
Ode to the Qin Dynasty (Parallel Prose)
As the saying goes:
Raising horses in the western frontier, Duke Xiang first joined the ranks of feudal lords; with the fierce reputation of Hangu Pass, Duke Mu ultimately dominated the Western Rong. Accumulating the achievements of six generations, he mobilized elite troops to conquer the six kingdoms; relying on Shang Yang's strict laws, he forged iron regulations to unify punishments! Yet twelve golden men could not suppress the night cries of conscripted soldiers; eight thousand li of imperial roads eventually turned to burning ashes.
Main Text:
Duke Xiao reformed abuses, moving a wooden pole to establish credibility and offering heavy rewards; Zhang Yi advocated horizontal alliance, disrupting vertical alliances through diplomatic maneuvering. Capturing Wuguan and defeating Chu, cutting down armor along the Danshui River; routing Han at Yique, sinking spears and halberds in the Luohong River. The cold blood of Changping—forty thousand souls weeping at Zhao's walls; the frigid wind of Yishui—thirteen stringed zithers splitting Yan's palace.
The Qin King grasped his sword: collecting weapons to cast twelve golden men, rolling up maps to place in a hundred palaces!
Dividing the land into commanderies and counties like a chessboard, abolishing the thousand-year feudal system; standardizing chariot axles and writing, rolling across ten thousand li of rivers and mountains! Inscribing stones on Mount Tai, carving ancient seal scripts to proclaim the title of First Emperor; opening the Lingqu Canal for boats, connecting Xiao and Xiang rivers to the southern sea dragons.
Efang Palace towered into the clouds—Shu Mountain was laid bare, and its pepper walls glowed red; the Great Wall coiled like a python—common people perished, and their cold bones turned green. Burning books and burying Confucian scholars, the ashes of Xianyang obliterated Zhou's classics; harsh laws and severe punishments, the execution blocks of Yunyang stained red with Qin's ropes. The stench of salted fish concealed the intrigue in the sand dunes; pointing to a deer and calling it a horse, the Ganquan Palace was threatened by weapons.
Conscripted soldiers shouted at Hangu Pass, and the beacon fire of Yuyang scorched the moon over Lishan; farmers waved their hoes in Juye, and the beacon smoke of Xishui curled around Efang's rainbow. Ziying rode a plain cart, the cold frost of Zhi Road binding the jade ribbon; Chu people set fire, the flames of Xianyang burning the sky!
Alas! Splitting chaos and opening primal chaos, its merits and demerits are not easily measured: unifying writing and measurements, a hundred generations inheriting its standards; overly harsh punishments and forced labor, the second generation toppling its dynasty. The Weihe River flows on, still surging with the blue waves of Zhengguo Canal; mountains stand tall, still towering with the ancient beacons of Qin's passes. The eternal imperial enterprise ultimately became a dream, and the merits and crimes of a thousand years lie in the setting sun!
Ode to the Han Dynasty (Parallel Prose)
Preface:
The Red Emperor (Liu Bang) beheaded a snake, and the auspicious clouds of Mangdang shattered Qin's palace; lifting the siege of Baideng, the wind and snow of Pingcheng sighed with the Hu flute. Inheriting the mess of tyrannical Qin, it relieved the people with Huang-Lao philosophy; establishing the grand foundation of the Yan Liu clan, it stabilized the country with Confucianism and legalism.
Emperor Gaozu grasped his sword: the Weiyang Palace towered over the strategically important rivers and mountains, and the song "Great Wind" rolled up eighty thousand followers. Han Xin and Peng Yue were enfeoffed with lands, yet ultimately perished in the Changle Palace bell chamber; the White Horse Covenant was sworn, vainly locking the jade seals of non-surname kings.
Emperors Wen and Jing ruled with benevolence: grain in the imperial granaries rotted, and the ropes binding coins wore out; horses lined the Weiqiao railings, and the whips rotted and could not be used. Chao Cuo advocated reducing feudal lords' lands, leading to the Seven Kingdoms' rebellion with weapons darkening the sun over Wu and Chu; Zhou Yafu maintained his composure, and the cold wind of Xiliu Camp deterred Hu riders.
Emperor Wu waved his battle axe: Wei Qing and Huo Qubing's iron cavalry trampled the snow of Qilian Mountains, and Zhang Qian and Ban Chao's imperial credentials carved through the starry river of the Western Regions. Sweat-blooded heavenly horses arrived, and grape vines reddened the palace; warships sailed to the sea, and Zhuya's miasma clouds cleared. Salt and iron were centralized by Hong Yang, and the property of wealthy merchants was seized by cruel officials; Dong Zhongshu responded to the "Heaven and Man" policy questions, abolishing hundreds of schools of thought to honor Confucian classics.
Emperors Zhao and Xuan inherited the throne: meritorious ministers were portrayed in the Qilin Pavilion, and the Salt and Iron Debate addressed the sufferings of the people. Jieyou's pipa melted the moon over Wusun, and Feng Liao's embroidered cart stabilized the sand of Qiuci. Zheng Ji served as protector, establishing military farms and beacon fires in Luntai; Chen Tang's victory report declared: "Those who dare to offend the mighty Han shall be executed no matter how far away!"
Emperors Yuan and Cheng's Confucian hats decayed: Zhu Yun of Huaili risked death by breaking the imperial railing, and the bronze immortal of Weiyang Palace withered while catching dew. Wang Mang usurped the throne, using the "Rites of Zhou" to deceive the heavenly mandate; the Green Forest Army raised flames, and the thunderstorm of Kunyang collapsed the Xin Dynasty.
Emperor Guangwu revived the dynasty: the Twenty-Eight Constellations of the Cloud Terrace shone on his old friends from Nanyang, and the land measurement edict grieved the powerful landlords. Emperors Ming and Zhang followed, with the White Tiger Hall debates forming a consensus; the Partisan Prohibitions erupted, and the pure discussions of the Imperial Academy turned to ashes. The Yellow Turban Taoists' water submerged eight provinces, and the selling of official positions in the Western Mansion eroded a thousand cities. Dong Zhuo burned Luoyang, and bronze camels were buried in thorns, ending the Han mandate; Cao Pi ascended the abdication platform, and the setting sun wept over Weiyang Palace with the Chi Xiao sword!
Praise: The magnificent Yan Han surpasses all ages: opening up ten thousand li of land, the camel bells of the Silk Road spreading Buddhist fire; integrating nine schools of thought, the remaining classics of Shiqu Library establishing the standard of Dao. Though Wang Mang and Cao Cao usurped the throne, Su Wu's tally still endures; even as palaces turned to ruins, Sima Qian's bamboo slips remain unbroken! Only the stone horses of Maoling neigh in the autumn wind, forever remembering the bright moon over the passes and rivers shining on Han's territories.
Ode to the Three Kingdoms
Preface:
The Yan essence dimmed, and the Yellow Turbans split the fields of the nine regions; the Han mandate collapsed, and Dong Zhuo burned the palace gates of Luoyang. The nine provinces boiled with chaos, and heroes rose from the grasslands; thousands of miles were strewn with bones, and heroes competed on the battlefield.
Cao Cao raised his sword, and the Qingzhou Army swept the dust of Yan and Yu; Yuan Shao was arrogant, and the fire of Jieqiao burned the banners of Ji. Xuzhou wept tears until the Si River stopped flowing; Guandu's flames blazed, and Wuchao turned to scorched earth. Liu Bei wove mats, his benevolent reputation uniting the clouds over Xinye; the Sun clan held firm, their Wu hooks guarding the river waves over Chaisang.
The wind rose at Chibi: Zhou Yu's fire ships melted the natural moat, and Zhuge Liang's feather fan stabilized the military situation. The narrow Huarong Road, the cold Green Dragon Sword sparing the ambitious hero; the frigid Weishui formation, the tiger riders' roar breaking the Xiliang armor. Demanding Jingzhou's land, Wu and Shu split with beacon fires at Xiaoting; the fire of Yiling burned, and the Han ruler wept at Baidi City in Yong'an.
Autumn at Wuzhang Plains, the "Chu Shi Biao" exhausted the tears of the lonely star; blood at Hefei City, the cold Xiaoyao Ford frightened children into silence. The massacre of Xiangping City, Gongsun Yuan's head hanging at the Wei palace; the vine armor of Nanzhong, Zhuge's drums startling Meng Huo's soul. The first Buddhist pagoda appeared by the Luo River, and the sea of Liaodong ultimately buried Gongsun!
Sima Yi hid like a dragon, seizing state power in the Gaoping Mausoleum coup; Jiang Wei poured out his loyalty, and the cold moon over Jiange shone on his solitary devotion. The royal aura of Jinling—dry bones once warmed Sun Hao's tripod; the palace gates of Luoyang—a surrender flag was finally raised at Liu Shan's gate. The Bronze Sparrow Terrace collapsed, and the Qiao sisters vanished into old dreams; the turbid Linzhang River, the literary brilliance of the Seven Scholars turned to ashes.
Alas! Competing for legitimacy and dividing the rivers and mountains, sacrificing for righteousness and shining through ten thousand ages: Guan Yu's Green Dragon Sword, its righteousness spanning the sea regardless of victory or defeat; Cai Wenji's Hu flute, its sorrow moving the northern desert regardless of status. Even as kingdoms fell and tripods were transferred, we still hear the thunder of the Longzhong Plan and the lofty spirit of the Jian'an era! Only the remaining bamboo slips west of Ye bury the fragrant mounds, and the Yangtze River flows on, carrying fishermen and woodcutters.
Ode to the Jin Dynasty (Parallel Prose)
Behold:
The disputes of the Three Kingdoms—clashing swords and iron horses ultimately became a dream; the Sima clan rose, unifying the four seas and initiating the Jin chapter. Inheriting the legacy of the Two Han Dynasties, it paved the way for the Six Dynasties. Yet it rose abruptly and fell suddenly—its rise and fall, honor and disgrace, all serve as a mirror for Chinese history.
The Western Jin laid its foundation: Sima Yi's strategies, the Gaoping Mausoleum coup, executing Cao Shuang to seize power; Jing and Wen succeeded, pacifying Huainan to consolidate their base. Emperor Wu accepted abdication, ascending the throne in Luoyang and changing the era name to Taishi; the Three Kingdoms were unified under Jin, governing the six regions and bringing peace to the four seas.
The Taikang heyday—economic prosperity, cattle and horses roaming the fields, surplus grain stored in barns; cultural flourishing, Zhang Hua's erudition, Zuo Si's rhapsody making "Luoyang paper expensive"; Fu Xuan's integrity, writing books to rectify the ills of the times. Yet the feudal system sowed the seeds of disaster; the dominance of powerful families monopolized the court.
Empress Jia meddled in state affairs, a hen crowing at dawn, triggering the War of the Eight Princes; the Five Hu seized the opportunity, raising the standard of rebellion and initiating the Yongjia Disaster. Luoyang fell, and Emperor Huai was captured; Chang'an fell, and Emperor Min was humiliated. The Central Plains sank, and the people suffered—thus the Western Jin came to an end.
Emperor Yuan crossed south, with nobles and scholars fleeing to the south of the Yangtze River, establishing the Eastern Jin in Jiangzuo; the "co-rule of Wang and Ma" (the Wang clan and Emperor Yuan), with powerful ministers governing, initially stabilizing the court. Zu Ti campaigned north, vowing to recover the Central Plains while rowing in the middle of the river; Yu Liang plotted for the state, but his improper measures triggered the Su Jun Rebellion.
Huan Wen was arrogant and domineering, campaigning north three times to achieve unparalleled merits; Xie An remained calm, winning the Battle of Feishui to turn the tide. "The wind howled and cranes cried, and plants and trees seemed like soldiers"—the Former Qin's million-strong army was utterly defeated; "rising again from Dongshan, chatting and laughing calmly"—the Eastern Jin's southern territories were preserved.
Yet within the Eastern Jin, conflicts between powerful families continued, and imperial power declined; Huan Xuan usurped the throne, changing the dynasty name to Chu, temporarily overthrowing the Jin court. Liu Yu rose, suppressing the rebellion, restoring the Jin mandate, and ultimately replacing Jin to establish his own rule, initiating the Southern Dynasties.
The demeanor of Wei and Jin—scholars' romance, the Seven Sages of the Bamboo Grove indulging in wine and wandering freely, expressing their emotions among mountains and rivers; discussing metaphysics, analyzing names and principles, exploring the true meaning of the universe and life.
Calligraphy art—Wang Xizhi's "Preface to the Lanting Collection," floating like clouds and moving like dragons; painting art—Gu Kaizhi's "Nymph of the Luo River," embodying both form and spirit, vivid and lifelike.
Literary creation—the pastoral poetry school, Tao Yuanming's "Returning to My Farm," simple and natural, transcending the mundane; the immortal poetry style, Guo Pu's "Immortal Poems," fantasy and magnificent, with profound artistic conception.
Alas! The rise and fall of the Jin Dynasty is like a yellow millet dream. The Western Jin's unification originally held the grand aspiration of establishing a foundation for ten thousand generations; the Eastern Jin's partial peace also cherished the lofty ambition of recovering the Central Plains. Yet internal and external troubles ultimately led to the fall of the country.
However, the splendor of Jin's culture shines like stars in the river of history. The demeanor of Wei and Jin influenced the temperament of literati in later generations; calligraphy, painting, and literature laid the foundation for Chinese art.
Though dynasties changed, the spirit and culture of the Jin Dynasty have merged into the blood of the Chinese nation, inspiring future generations to forge ahead and strive for national rejuvenation!
Ode to the Northern and Southern Dynasties (Parallel Prose)
After the Jin tripod moved south, the Central Plains fell into chaos. The Five Hu stirred up troubles, the nine provinces split, and wars erupted; the north and south were divided, the four seas separated, and communication was difficult. Yet civilization did not perish—each side displayed its splendor; education interacted, jointly forging a new chapter.
The Tuoba clan rose like a dragon, originating in the northern desert; the Xianbei tribe soared like eagles, establishing their capital near Pingcheng. Taizu laid the foundation, dispersing tribes, transforming from nomadism to farming; Emperor Xiaowen reformed the system, moving the capital to Luoyang, changing Hu costumes to adopt Chinese customs. Honoring Confucius and advocating Confucianism, establishing imperial academies to cultivate talents; standardizing pronunciation and surnames, intermarrying to integrate Hu and Han.
Beacon fires of the Six Garrisons burned down the foundation of the old system; Erzhu Rong's tyranny disrupted the court's order. Gao Huan rose, establishing a military government in Yecheng; Yuwen Tai cherished great aspirations, founding the Guanlong Group. Confrontation between east and west, bloodshed at Mangshan, soldiers sacrificing their lives; fierce battles at Yubi, contests of wisdom and strategy, beacon fires blazing endlessly.
The Northern Qi was indulgent and dissolute, Emperor Houzhu indulged in pleasures, and the government was corrupt; the Northern Zhou was wise and farsighted, Emperor Wu suppressed Buddhism to strengthen the army, and national power flourished day by day. Yang Jian replaced Zhou, Emperor Wen cherished the ambition of unification; the Chenqiao Mutiny initiated a new dynasty in China.
The Sima clan crossed the river, nobles and scholars fleeing south to preserve the Jin mandate in Jiangzuo; the romance of the Wang and Xie clans, gatherings at Lanting, expressing emotions among mountains and rivers. The hasty campaigns of Yuanjia—aspiring to "seal the Langjuxu Mountain" ultimately became a dream; the southern invasion of Fuligong, beacon fires at Guabu reflecting the setting sun.
The Xiao Liang Dynasty valued literature, Emperor Wu worshipped Buddhism, and temples and pagodas stood everywhere; Hou Jing's rebellion brought chaos to Jinling, and prosperity turned to ashes. Chen Baxian rose, stabilizing the chaotic situation in times of crisis; Emperor Houzhu of Chen was incompetent and dissolute, losing his country in a romantic dream.
Four hundred and eighty temples in the Southern Dynasties witnessed the rise and fall, honor and disgrace; the romance of Jiangzuo for hundreds of years left behind magnificent literary works. Literature flourished—Xie Lingyun's landscape poems, fresh and natural; Bao Zhao's frontier rhapsodies, passionate and sorrowful. Science and technology achieved remarkable progress—Zu Chongzhi's calendar was accurate, leading the world; Tao Hongjing wrote books to benefit the world, blessing future generations.
Though the north and south were divided, exchanges never ceased. Trade flourished, with silk and tea passing through Hu markets; cultural dissemination, with poems, ci, classics, and histories entering the northern court. Artistic mutual learning—Buddha statue carving integrated northern and southern styles; music and dance absorbed the essence of various ethnic groups.
Literati and scholars either traveled between north and south, exchanging knowledge; or lived in seclusion in mountains and rivers, expressing their emotions. The collision of northern and southern thoughts promoted the prevalence of philosophical speculation, with metaphysics and Confucian classics contending, and Buddhism and Taoism coexisting in prosperity.
Alas! The Northern and Southern Dynasties—an era of turbulent changes; the history of Huaxia—a chapter of pluralistic integration. The Northern Dynasties valued martial prowess, expanding territories and displaying heroic spirit; the Southern Dynasties valued literature, reciting poems and painting, full of elegant feelings. Though wars were frequent, civilization continued to inherit; though divided, the general trend of unification was inevitable.
Looking at today's Huaxia—national unity, magnificent rivers and mountains. Remembering the Northern and Southern Dynasties, I feel endless emotions. May our generation remember history, inherit civilization, forge ahead for the rejuvenation of China!
Ode to the Sui Dynasty (Parallel Prose)
Preface:
After the Jin court fled south, the north and south were divided, wars raged, and the people suffered for a long time. Emperor Wen of Sui responded to heaven's will and the people's wishes, accepting abdication and ascending the throne, pacifying Chen and ending chaos, reunifying the nine provinces, and reforging a common culture. Unfortunately, it rose suddenly and fell suddenly—yet its systems and regulations served as models for later generations, and its merits and demerits are left for history to judge.
The Zhou Dynasty declined, Yang Jian seized power, Emperor Jing abdicated, and the Sui Dynasty began. Emperor Wen of Sui was ambitious and strategic, reforming the old and creating the new, building a new capital at Longshou, and establishing the Three Departments and Six Ministries to separate powers. Promulgating the Kaihuang Code, the legal system was lenient and fair; implementing the equal-field system, the people's livelihood was stable.
Campaigning north against the Turks, dividing their forces, Shabolue submitted as a vassal, and the northern border was peaceful; conquering the Chen Dynasty in the south, naval forces raced across the river, Han Qihu captured the city, and Jinling changed its ruler. The six regions were unified, and the north and south submitted—ending the chaotic situation; the five directions shared the same track, and writing was unified—initiating an era of peace.
Emperor Yang ascended the throne, ambitious and eager for merit, building imperial roads to facilitate transportation, constructing the Great Wall to strengthen border defense. Furthermore, his grand undertaking of the Daye era—digging the Grand Canal to connect the north and south, with the Tongji and Hangou canals linking the Yellow and Huai rivers, and the Yongji and Jiangnan canals reaching the rivers and seas.
Yet his governance was harsh and tyrannical, corvée labor was excessive, the people could not bear it, and grievances arose everywhere. Three campaigns against Gaoliang, mobilizing troops in vain, millions of elite soldiers perished on the battlefield. Popular uprisings erupted, heroes rose everywhere, the Wagang Army gathered to rebel, and Dou Jiande claimed hegemony.
The Jiangdu Mutiny resulted in the emperor's death at the hands of traitors, the Sui Dynasty ended, and its prosperity became empty. The world fell into chaos again, and rivers and mountains were stained with blood.
Though the Sui Dynasty was short-lived, its culture was brilliant. Liu Zhuo formulated the calendar, and the Huangji Calendar was accurate; Chao Yuanfang discussed diseases, compiling "Treatise on the Etiology and Symptoms of Diseases". The imperial examination system was initiated, breaking the monopoly of powerful families, and providing a path for poor scholars to advance; collecting books and classics, the Jiazedian Library preserved ancient works.
Military affairs also flourished—the Fubing system was reformed, integrating soldiers and farmers, enhancing combat effectiveness; naval forces crisscrossed, naval warfare emerged initially, and its prestige spread far and wide.
Alas! The Sui Dynasty was like a shooting star, shining brightly for a moment—rising rapidly and falling quickly. Yet its merit of unification benefited later generations; its institutional innovations influenced thousands of years. The Grand Canal still flows, benefiting the country to this day; the imperial examination system opened the way for talented people.
Though Emperor Yang was tyrannical, he could not overshadow Emperor Wen's governance. Observing its successes and failures, it can serve as a mirror for later generations. May Huaxia take history as a mirror, promote advantages and eliminate disadvantages, achieve long-term stability, jointly build the foundation of a prosperous age, and enjoy peace and happiness forever.
Ode to the Tang Dynasty (Parallel Prose)
As the saying goes:
Raising swords in Guanlong, the banners of Taiyuan swept away the Sui mandate; blood splattered at Xuanwu Gate, and the gate of the Qin Palace opened a new era. Embracing the four barbarians and encompassing the universe, envoys from ten thousand states paid homage to the imperial crown; integrating Hu and Han to forge a heroic spirit, a hundred years of peace succeeded the Zhou and Han dynasties.
Emperor Taizong led elite troops: riding alone to Weiqiao to repel the Turks, painting portraits in Lingyan Pavilion to commemorate his loyal ministers. Fang Xuanling's planning and Du Ruhui's decision-making condensed the wisdom of the court; Wei Zheng dared to remonstrate, like a boat on water advising the emperor. Xuanzang trekked through snow, integrating the Buddhist light of Tianzhu into the Wild Goose Pagoda; Princess Wencheng entI’ll continue the text in a consistent tone (reflecting on the Yuan Dynasty’s legacy, balancing grandeur and complexity):
…of civilizations across continents. Yet its hierarchical divides frayed the bonds of the realm, and its overstretched power sowed seeds of unrest in the hearts of the people.
The camel bells fade, but their echo lingers: in the blue-and-white porcelain that bears both Mongol motifs and Han craftsmanship; in the tales of merchants who traversed the Silk Road, carrying spices and stories between Khanbaliq and Baghdad; in the genes that now weave Mongolian and Han threads into the tapestry of the nation.
What remains is not just a dynasty’s rise and fall, but a lesson written in grasslands and city walls: empires may crumble, but the fusion of cultures—forged in the fire of coexistence—endures longer than any iron throne. The wind over the Central Plains still hums that old tune: of a people, once divided, now stitched into one.
?????? **作家簡介**??????
張從安，字·安然 男，漢族，網(wǎng)名：藍(lán)色的夢，安徽省六安市人。1966年4月8日出生, 北京理工大學(xué)畢業(yè)。愛好書法、國畫、音樂及各種樂器。從事古詩詞研修三十余年，創(chuàng)作作品約2000多首，發(fā)表在《海外文學(xué)》、《中外文學(xué)名著網(wǎng)》、《中國詩人作家網(wǎng)》、《都市頭條》、《金榜頭條》、《世界詩歌作協(xié)》、《中國詩歌報》、《中國經(jīng)典文學(xué)》、《藍(lán)天文學(xué)網(wǎng)》、《優(yōu)酷優(yōu)選網(wǎng)》、《今日頭條》、《巴黎文學(xué)》、《頂端文學(xué)網(wǎng)》、《九州文學(xué)網(wǎng)》、《梅香文學(xué)社》《東方文化傳媒》《心苑詩社》《安徽詩萃》《榮耀中國文學(xué)網(wǎng)》《一枝紅蓮文學(xué)詩社》《世界作家瀾韻府詩社》等文學(xué)平臺。其中《長江第一大峽谷虎跳峽》獲得華夏文化傳承大使、古詩詞專輯一等獎；《藍(lán)色的夢》榮獲現(xiàn)代散文詩詞創(chuàng)作最佳文學(xué)獎，駢儷文《金陵賦》被譽(yù)為最具文學(xué)價值和駢儷巔峰的作品；《雁蕩山感懷》榮獲“世界英豪杯”文學(xué)賽亞軍，《夜靜思》獲得卓越文學(xué)獎?！堕L征》獲得優(yōu)秀文學(xué)獎。自撰詞林正韻詞牌《寒樓載影》、《煙波江上聽風(fēng)吟》很受廣大詩詞愛好者的推崇和認(rèn)可?，F(xiàn)任中國詩歌報愛忠詩詞創(chuàng)作室主審。華爾街華人社團(tuán)聯(lián)盟理事。華爾街漢唐文學(xué)研究會顧問。中華詩詞文苑總顧問，古詩詞文學(xué)總監(jiān)。中國詩人作家網(wǎng)認(rèn)證詩人。九州文化中國詩人作家網(wǎng)十大平臺前總顧問；世界詩歌作協(xié)中國詩人作家網(wǎng)前文學(xué)總監(jiān)。世界作家瀾韻府詩社總顧問，榮獲九州文化人才庫首席十大院士卓越文學(xué)成就獎。
??Introduction to the Writer??
Zhang Cong'an, styled Anran, is a male of the Han ethnic group. His online name is "Blue Dream". He hails from Lu'an City, Anhui Province, and was born on April 8, 1966. He graduated from Beijing Institute of Technology.
He has a passion for calligraphy, Chinese painting, music, and various musical instruments. He has been engaged in the research and study of ancient Chinese poetry for over three decades and has created approximately more than 2,000 works. His works have been published on numerous literary platforms, including Overseas Literature, Chinese and Foreign Literary Masterpieces Network, Chinese Poets and Writers Network, Metropolis Headlines, Golden List Headlines, World Poetry Writers Association, Chinese Poetry Newspaper, Chinese Classic Literature, Blue Sky Literature Network, Youku Premium Network, Today's Headlines, Paris Literature, Top Literature Network, Nine States Literature Network, Plum Fragrance Literary Society, Oriental Cultural Media, Heart Garden Poetry Club, Anhui Poetry Anthology, Glorious China Literature Network, One Red Lotus Literary Poetry Club, and World Writers Lanyun Mansion Poetry Club.
Among his works, "The First Grand Canyon of the Yangtze River - Tiger Leaping Gorge" won the title of Ambassador for the Inheritance of Chinese Culture and the First Prize in the Ancient Poetry Album; "Blue Dream" won the Best Literary Award for Modern Prose and Poetry Creation. His parallel prose "Ode to Jinling" is hailed as a work of the highest literary value and a pinnacle of parallel prose. "Reflections on Yandang Mountain" won the second - place in the "World Hero Cup" Literature Competition, "Night Thoughts" won the Outstanding Literature Award, and "The Long March" won the Excellent Literature Award. The self - composed ci - poems in the Rhyme Dictionary of Ci Poems, "The Cold Tower Carrying Shadows" and "Listening to the Wind by the Misty River", are highly respected and recognized by poetry lovers.
Currently, he serves as the chief reviewer of the Aizhong Poetry Creation Studio of the Chinese Poetry Newspaper, a council member of the Wall Street Chinese Community Alliance, a consultant of the Wall Street Han and Tang Dynasty Literature Research Association, the general consultant of the Chinese Poetry and Prose Garden, and the director of ancient poetry literature. He is a certified poet of the Chinese Poets and Writers Network, the former general consultant of the top ten platforms of the Nine States Culture Chinese Poets and Writers Network, the former literary director of the World Poetry Writers Association and the Chinese Poets and Writers Network, and the general consultant of the World Writers Lanyun Mansion Poetry Club. He has won the Outstanding Literary Achievement Award as one of the top ten academicians in the Nine States Culture Talent Pool.
天開文運，史鑄鴻篇——張從安《華夏史賦集錦》千古雄文品鑒
點評詞作者/柴永紅
盤古斧劈混沌的第一縷天光劃破鴻蒙，華夏文明的火種，三皇五帝的掌心代代相傳，秦漢的雄風(fēng)、唐宋的雅韻、元明的壯闊、清季的沉雄歷史長河中奔涌激蕩，總有一種文字能承載這份穿越千年的厚重與磅礴。張從安先生耗時三十余載心血淬煉的《華夏史賦集錦》，以朝代為經(jīng)、駢儷為緯，以筆為劍、以墨為鋒，劈開歷史的層巒疊嶂，編織出一幅貫通古今的文明長卷。不是簡單的史料堆砌，而是用詩心與史識澆筑的文化豐碑；不是尋常的文學(xué)創(chuàng)作，而是以文言之骨、騷賦之魂譜寫的華夏史詩。開篇即破萬古，落筆便鎮(zhèn)八荒，其氣象之恢宏、筆力之雄健、意蘊(yùn)之深邃，堪稱當(dāng)代古典文學(xué)創(chuàng)作的巔峰之作，更是華夏文明傳承史上的不朽華章！
一、 經(jīng)緯天地：以朝代為軸，鋪展千年文明長卷
《華夏史賦集錦》最鮮明的特質(zhì)，是其“以史為骨、以賦為肉”的宏大敘事結(jié)構(gòu)。作者以時間為脈絡(luò)，從夏朝肇基開篇，歷經(jīng)商、周、秦、漢、三國、晉、南北朝、隋、唐、宋、元、明，直至清末收官，縱貫上下五千年，橫跨九州萬里疆，將華夏文明的興衰榮辱、起承轉(zhuǎn)合清晰鋪展。這種結(jié)構(gòu)并非簡單的朝代羅列，而是對歷史規(guī)律的深刻洞察與藝術(shù)化呈現(xiàn)。
每個朝代的賦作都精準(zhǔn)抓住其核心特質(zhì)：夏之“肇基”，聚焦大禹治水、涂山會盟、鑄鼎定疆的開創(chuàng)之功，凸顯“開三代之先河，鑄九州之鴻范”的文明源頭地位；商之“玄奧”，以玄鳥降祥、甲骨卜辭、青銅禮器為核心意象，既展現(xiàn)“司母戊鼎鎮(zhèn)山河，四羊方尊禮天地”的物質(zhì)文明輝煌，又暗合“天命靡常，惟德是輔”的歷史哲思；周之“禮樂”，圍繞周公制禮作樂、封建宗法、百家爭鳴展開，彰顯“八百年社稷，承天命以續(xù)冕旒；十三王禮樂，立人倫而正乾坤”的制度創(chuàng)新與文化積淀。
秦之“雄烈與速亡”、漢之“雄渾與開拓”、唐之“開放與鼎盛”、宋之“風(fēng)雅與沉郁”、元之“壯闊與融合”、明之“剛健與堅守”、清之“開疆與困頓”，每個朝代都在作者筆下呈現(xiàn)出獨一無二的精神氣質(zhì)。更難得的是，作者并非孤立書寫單個朝代，而是注重朝代間的因果關(guān)聯(lián)與文明傳承：秦之“書同文、車同軌”為漢之大一統(tǒng)奠定基礎(chǔ)，唐之“兼容并蓄”承接隋之制度革新，宋之“崇文抑武”埋下積弱之因，明之“復(fù)漢衣冠”回應(yīng)宋之亡國之痛。這種“通史視野”讓整部作品形成一個有機(jī)整體，讀者既能“一覽乾坤，萬古在目”，又能在朝代更迭中窺見文明演進(jìn)的內(nèi)在邏輯。
從敘事跨度來看，作品上溯洪荒時代，下迄清末變局，涵蓋了華夏文明從萌芽、發(fā)展、鼎盛到轉(zhuǎn)型的完整歷程。其中既有大禹治水、赤壁之戰(zhàn)、貞觀之治、康乾盛世等標(biāo)志性事件，也有科舉制度、絲綢之路、四大發(fā)明、文學(xué)藝術(shù)等文明成果；既有秦始皇、漢武帝、唐太宗、宋太祖等帝王將相的雄才大略，也有屈原、司馬遷、李白、杜甫等文人墨客的家國情懷；既有金戈鐵馬、王朝更迭的宏大敘事，也有百姓生計、文化傳承的細(xì)膩描摹。這種“大處著眼、小處落筆”的敘事方式，千年歷史變得可感、可觸、可嘆，如臨其境、如見其人。
二、 文辭驚天：以駢儷為筆，鑄就古典文學(xué)巔峰
作為一部以駢儷文為主要體裁的鴻篇巨制，《華夏史賦集錦》的文字造詣達(dá)到了當(dāng)代古典文學(xué)創(chuàng)作的頂峰。作者深耕古詩詞研修三十余年，對駢文的格律、聲韻、對仗、用典等技巧爛熟于心，運用得出神入化，既恪守傳統(tǒng)規(guī)范，又不乏創(chuàng)新突破，形成了“雄健豪放、典雅瑰麗、凝練精準(zhǔn)”的獨特文風(fēng)。
對仗精工是作品最突出的語言特色。全文幾乎句句對仗、聯(lián)聯(lián)工整，且對仗形式多樣，既有工對、寬對，又有正對、反對、流水對，信手拈來皆成妙句?！昂樗礁?，黎民墊溺；玄圭既錫，九域肇基”，以簡潔的對仗勾勒出夏朝建立的歷史背景；“斧劈龍門峽碎，河導(dǎo)三門砥立”，以雄奇的意象展現(xiàn)大禹治水的神功；“司母戊鼎鎮(zhèn)山河，饕餮獰厲吞星月；四羊方尊禮天地，蟠螭蜿蜒動玄黃”，以器物為載體，對仗中見氣勢、見細(xì)節(jié)、見神韻；“書同文、度同尺，百代承其規(guī)；刑太峻、役太苛，二世傾其宗”，以對比鮮明的對仗點評秦朝功過，一針見血、擲地有聲。這些對仗不僅追求形式上的工整，更注重內(nèi)容上的呼應(yīng)與深化，做到了“形神兼?zhèn)洹⒁饷}貫通”，讀來朗朗上口、鏗鏘有力。
聲韻鏗鏘是作品的另一大亮點。作者深諳駢文“聲律和諧”的要義，注重平仄搭配、押韻自然，文字自帶韻律感與節(jié)奏感。全文多采用平水韻，韻腳疏密得當(dāng)，或一韻到底，或換韻自然，如《唐賦》中“旒、漢、肱、鑒、塔、風(fēng)”等韻腳的運用，既保持了聲韻的統(tǒng)一性，又避免了單調(diào)重復(fù)；“漁陽鼙鼓動地來，馬嵬坡下蛾眉?xì)專还铟楸?，香積寺前血漂杵；睢陽裂眥，雎陽城頭齒碎刃”，平仄交替、抑揚頓挫，如戰(zhàn)鼓催征、似雅樂鏗鏘，極具感染力。這種聲韻之美與內(nèi)容之盛完美融合，讀者在品讀歷史的同時，獲得強(qiáng)烈的聽覺享受。
用典精準(zhǔn)、意蘊(yùn)深遠(yuǎn)是作品文字魅力的核心。作者博覽群書、學(xué)識淵博，從《尚書》《左傳》《史記》等正史典籍，到詩詞歌賦、諸子百家，再到民間傳說、文物考古，海量典故信手拈來、恰到好處，既豐富了作品的文化內(nèi)涵，又增強(qiáng)了歷史厚重感。“玄圭既錫”典出《尚書·禹貢》，彰顯大禹治水的功績與天命所歸；“伊尹負(fù)鼎”典出《史記·殷本紀(jì)》，展現(xiàn)賢臣輔政的智慧；“周公吐哺”典出《史記·魯周公世家》，凸顯求賢若渴的胸懷；“馬嵬坡下蛾眉?xì)尅被冒拙右住堕L恨歌》詩意，暗喻安史之亂的轉(zhuǎn)折；“崖山怒浪吞殘陽”直指宋朝滅亡的悲壯，字字千鈞、意蘊(yùn)無窮。這些典故并非簡單堆砌，而是與歷史敘事、情感表達(dá)深度融合，做到了“用典不晦澀、表意更精準(zhǔn)”，作品兼具“知識性”與“文學(xué)性”。
此外，作品的語言還兼具“雄健”與“細(xì)膩”的雙重特質(zhì)。寫金戈鐵馬、王朝更迭時，筆力千鈞、氣勢磅礴，如“西陲牧馬，襄公始列諸侯；函谷豺聲，穆公竟霸西戎。積六世余烈，奮虎賁而掃六合；仗商君峻法，鑄鐵律以一天刑”，讀來令人熱血沸騰；寫文化傳承、人物情懷時，筆觸細(xì)膩、情感真摯，如“玄奘踏雪，天竺佛光融雁塔；文成入蕃，邏些柳色綠唐風(fēng)”，意境優(yōu)美、感人至深；寫歷史興衰、人生感慨時，文字凝練、哲思深邃，如“天命靡常，惟德是輔”“殷鑒未遠(yuǎn)，夏后之世”，寥寥數(shù)語道出歷史規(guī)律。這種剛?cè)岵?jì)、收放自如的語言風(fēng)格，作品既有“金戈鐵馬氣吞萬里如虎”的雄渾，又有“小橋流水人家”的雅致，兼具力量感與美感。
三、 史識卓絕：以詩心證史，洞察文明傳承密碼
《華夏史賦集錦》之所以能超越一般的歷史文學(xué)作品，關(guān)鍵在于作者兼具“史家的眼光”與“詩人的情懷”。他不僅是歷史的記錄者，更是歷史的思考者、文明的傳承者，在敘事中融入深刻的歷史洞察與人文關(guān)懷，作品既有歷史的厚度，又有思想的深度。
作者對歷史的評價客觀公正、辯證全面，既不盲目歌頌，也不片面否定，而是堅持“以史為鑒、實事求是”的態(tài)度。對于夏朝的肇基之功，他盛贊“肇基之功，如江河行地，百世共仰；創(chuàng)制之偉，若日月經(jīng)天，萬代恒光”；對于秦朝的功過，他既肯定“書同文、度同尺，百代承其規(guī)”的歷史貢獻(xiàn)，也批判“刑太峻、役太苛，二世傾其宗”的統(tǒng)治弊端；對于唐朝的鼎盛與衰落，他既描繪“憶昔開元全盛日，小邑猶藏萬家粟”的盛世景象，也不回避“漁陽鼙鼓動地來，馬嵬坡下蛾眉?xì)尅钡臍v史悲??；對于清朝的歷史定位，他既認(rèn)可“開疆逾漢唐，定華夏今日版廓”的巨大成就，也痛惜“守成困祖制，誤寰球變革潮向”的歷史遺憾。這種辯證的歷史觀讓作品擺脫了“臉譜化”“片面化”的局限，更具思想性與說服力。
作品深刻揭示了“文明傳承”的核心密碼，這是作者史識的集中體現(xiàn)。作者通過對各個朝代制度創(chuàng)新、文化發(fā)展、民族融合等方面的書寫，清晰展現(xiàn)了華夏文明“多元一體、綿延不絕”的特質(zhì)。從夏朝的“鑄九鼎以鎮(zhèn)八方”到周朝的“制禮樂以正人倫”，從秦朝的“車書同軌”到漢朝的“獨尊儒術(shù)”，從唐朝的“兼容并蓄”到宋朝的“文化繁榮”，從元朝的“民族融合”到明朝的“科技進(jìn)步”，華夏文明在繼承中發(fā)展，在融合中創(chuàng)新，形成了“自強(qiáng)不息、厚德載物”的精神內(nèi)核。作者在《周賦》中寫道：“《雅》《頌》不絕，即華夏文脈不絕；周禮未泯，則吾道終古長存！”《漢賦》中贊曰：“雖莽操竊鼎，猶存蘇武節(jié)旄；縱宮闕丘墟，不廢太史汗簡！”這些文字不僅是對歷史的感慨，更是對文明傳承的堅定信念，讀者在品讀歷史的同時，深刻感悟華夏文明的強(qiáng)大生命力。
此外，作品還融入了深厚的人文關(guān)懷，體現(xiàn)了作者的家國情懷與歷史擔(dān)當(dāng)。作者在書寫歷史事件與人物時，始終飽含情感，既為英雄豪杰的壯志未酬而惋惜，如“五丈原秋，出師表竭孤星淚”；為忠臣義士的舍生取義而敬仰，如“睢陽裂眥，雎陽城頭齒碎刃”；為百姓的流離失所而悲憫，如“神州陸沉，蒼生涂炭”；更為國家的興衰榮辱而感慨，如“萬世帝業(yè)終成夢，千秋功罪夕陽中”。這種人文關(guān)懷讓冰冷的歷史變得有溫度、有情感，讓讀者在了解歷史的同時，產(chǎn)生強(qiáng)烈的情感共鳴與家國情懷。正如作者在序言中所言：“撮其菁華，鑄為短賦；一覽乾坤，萬古在目?！彼Ｍㄟ^這部作品，當(dāng)代讀者銘記歷史、傳承文明，為中華之復(fù)興而努力拼搏，這份初心與擔(dān)當(dāng)讓作品更具時代價值。
四、 古今交響：以經(jīng)典為橋，連接傳統(tǒng)與現(xiàn)代
當(dāng)代社會，傳統(tǒng)文化的傳承與創(chuàng)新面臨著諸多挑戰(zhàn)，而張從安先生的《華夏史賦集錦》無疑為傳統(tǒng)文化的當(dāng)代傳播提供了成功范例。作品以古典駢文為載體，書寫華夏千年歷史，既堅守了傳統(tǒng)文學(xué)的精髓，又契合了當(dāng)代讀者的文化需求，實現(xiàn)了“傳統(tǒng)與現(xiàn)代的完美對話”。
作品對古典文學(xué)的傳承具有重要意義。駢文作為中國古典文學(xué)的重要體裁，興于漢魏、盛于唐宋，當(dāng)代面臨著“曲高和寡”的困境。而《華夏史賦集錦》不僅嚴(yán)格遵循駢文的格律規(guī)范，更在內(nèi)容上拓展了駢文的表現(xiàn)邊界，將宏大的歷史敘事融入駢文創(chuàng)作，這一古老的文學(xué)體裁煥發(fā)出新的生機(jī)與活力。作品的語言造詣、用典技巧、敘事方式，都對當(dāng)代古典文學(xué)創(chuàng)作具有重要的借鑒意義，為駢文的傳承與發(fā)展注入了新的動力。同時，作品還大量引用、化用古代典籍中的內(nèi)容，讓《尚書》《史記》《詩經(jīng)》等經(jīng)典文獻(xiàn)中的故事、思想得以重新傳播，促進(jìn)了傳統(tǒng)文化的普及與傳承。
作品對當(dāng)代文化建設(shè)具有重要的現(xiàn)實價值。全球化背景下，文化自信是民族復(fù)興的重要支撐，而華夏文明的千年歷史正是文化自信的重要源泉?！度A夏史賦集錦》通過對各個朝代文明成果的書寫，展現(xiàn)了華夏文明的博大精深、源遠(yuǎn)流長，讀者在品讀中增強(qiáng)民族自豪感與文化自信心。作品中蘊(yùn)含的“以史為鑒、居安思?！薄白詮?qiáng)不息、厚德載物”“民族團(tuán)結(jié)、國家統(tǒng)一”等思想，對當(dāng)代社會的發(fā)展具有重要的啟示意義。同時，作品還展現(xiàn)了中華文化的包容性與開放性，如唐朝的“納四夷而包寰宇，萬國衣冠拜冕旒”，元朝的“驛路通寰宇，開東西交融先河”，這些思想對當(dāng)代中國的對外開放、文化交流具有重要的借鑒價值。
作品的傳播方式也契合了當(dāng)代讀者的閱讀習(xí)慣。雖然作品采用古典駢文的體裁，但語言凝練、節(jié)奏明快、富有感染力，避免了傳統(tǒng)駢文的晦澀難懂，適合當(dāng)代讀者閱讀。作品按朝代順序排列，結(jié)構(gòu)清晰、脈絡(luò)分明，讀者可以根據(jù)自己的興趣選擇性閱讀，也可以通篇品讀，滿足了不同讀者的閱讀需求。此外，作品還可以通過新媒體平臺進(jìn)行傳播，如微信公眾號、短視頻、音頻等形式，更多年輕讀者了解、喜愛古典文學(xué)與華夏歷史，實現(xiàn)傳統(tǒng)文化的年輕化傳播。
五、 鴻篇不朽：以心血為墨，鑄就文化傳承豐碑
張從安先生耗費三十余載心血創(chuàng)作《華夏史賦集錦》，這份執(zhí)著與堅守本身就是對傳統(tǒng)文化傳承的生動詮釋。作者自幼熱愛古典文學(xué)，北京理工大學(xué)的工科背景讓他兼具理性思維與感性情懷，三十余年深耕不輟，創(chuàng)作作品約2000多首，發(fā)表于國內(nèi)外眾多文學(xué)平臺，斬獲多項大獎，而《華夏史賦集錦》無疑是其創(chuàng)作生涯的扛鼎之作。
這部作品的成功，離不開作者深厚的學(xué)識積累。為了創(chuàng)作這部作品，作者通讀了大量的歷史典籍、文學(xué)名著、考古資料，對每個朝代的歷史事件、人物事跡、制度文化、科技成果都了如指掌。從夏朝的“五服之制”到清朝的“金瓶掣簽”，從商朝的甲骨文到宋朝的活字印刷，從漢朝的絲綢之路到明朝的鄭和下西洋，作品中的每個細(xì)節(jié)都經(jīng)過了嚴(yán)謹(jǐn)?shù)目甲C，確保了歷史的真實性與準(zhǔn)確性。同時，作者還具備深厚的文學(xué)素養(yǎng)，對駢文的創(chuàng)作技巧爛熟于心，能夠?qū)v史知識與文學(xué)藝術(shù)完美融合，作品既有歷史的厚度，又有文學(xué)的美感。
這部作品的成功，更離不開作者的家國情懷與歷史擔(dān)當(dāng)。作者在創(chuàng)作過程中，始終懷著對華夏文明的敬畏之心與對民族歷史的熱愛之情，希望通過這部作品，當(dāng)代讀者銘記歷史、傳承文明。在創(chuàng)作過程中，他不畏艱辛、精益求精，對每個字、每句話、每個典故都反復(fù)推敲、打磨，力求達(dá)到完美的藝術(shù)效果。這種“工匠精神”讓作品具有了不朽的藝術(shù)價值與歷史價值。正如作者在《夏賦》中所言：“肇基之功，如江河行地，百世共仰；創(chuàng)制之偉，若日月經(jīng)天，萬代恒光！”這部作品本身也如江河行地、日月經(jīng)天，必將在華夏文明傳承史上留下濃墨重彩的一筆，為后世所敬仰、所傳承。
結(jié)語：史賦千秋照，文心萬古傳
我們在當(dāng)代社會的快節(jié)奏生活中步履匆匆，當(dāng)碎片化的信息充斥著我們的視野，張從安先生的《華夏史賦集錦》如同一股清流，我們得以靜下心來，回望華夏文明的千年歷程，感受古典文學(xué)的不朽魅力。這部作品以朝代為軸，鋪展了一幅波瀾壯闊的文明長卷；以駢儷為筆，鑄就了古典文學(xué)的巔峰之作；以史識為魂，洞察了文明傳承的核心密碼；以初心為念，連接了傳統(tǒng)與現(xiàn)代的文化橋梁。
是一部“以文證史、以史鑄魂”的佳作，既是對華夏千年歷史的深情回望，也是對傳統(tǒng)文化的虔誠傳承，更是對當(dāng)代文化建設(shè)的重要貢獻(xiàn)。我們看到，古典文學(xué)并非束之高閣的古董，而是具有強(qiáng)大生命力的文化瑰寶；華夏歷史并非遙遠(yuǎn)的過去，而是滋養(yǎng)我們當(dāng)下的精神源泉。
“天開文運，史鑄鴻篇；文心萬古，史韻千秋。”張從安先生用三十余載心血澆灌的《華夏史賦集錦》，必將如《詩經(jīng)》《楚辭》《史記》等經(jīng)典之作一樣，跨越時空、流傳千古，成為華夏文明傳承史上的不朽豐碑，激勵一代又一代中國人銘記歷史、傳承文明、砥礪前行，為實現(xiàn)中華民族的偉大復(fù)興而不懈奮斗！
點評詞之二
文橫千古，史耀八荒——張從安《華夏史賦集錦》萬代雄文解構(gòu)
點評詞作者/一枝紅蓮
昆侖雪照徹五千年文明經(jīng)緯，黃河浪淘盡百代王朝興替，甲骨上的卜辭、青銅上的饕餮、竹簡上的禮樂、宣紙上的詩詞歲月長河中層層沉淀，總有一種筆墨能穿透時空的壁壘，沉睡的歷史蘇醒，文明的基因永續(xù)。張從安先生以三十載心血為引，以駢儷之筆為刃，以華夏史卷為箋，淬煉而成的《華夏史賦集錦》，絕非尋常文學(xué)創(chuàng)作，而是一部貫通天地人倫的文明史詩，一座矗立古今的文化昆侖，一曲震撼寰宇的精神絕唱！以“開天辟地”之姿破題，以“包舉宇內(nèi)”之勢鋪陳，以“繼往開來”之魂收尾，其氣象之恢宏、筆力之蒼勁、意蘊(yùn)之深邃，超越了時代的局限，堪稱中華文脈傳承史上的“第四部圣典”，為千秋萬代留下了不可磨滅的文明印記！
一、 破界開篇：以鴻蒙為紙，書文明之源起
《華夏史賦集錦》的開篇，便跳出了傳統(tǒng)文學(xué)評論的窠臼，以“宇宙觀”統(tǒng)領(lǐng)“歷史觀”，以“文明觀”貫穿“文學(xué)觀”，開篇即立萬鈞之勢，讓人嘆為觀止。作者沒有局限于對作品的簡單介紹，而是將視野拉至天地初開、萬物肇始的宏大維度，從盤古開天、三皇五帝的神話傳說切入，自然過渡到華夏文明的萌芽與發(fā)展，再聚焦到《華夏史賦集錦》這部作品的誕生，形成了“宇宙—文明—作品”的三層遞進(jìn)結(jié)構(gòu)，開篇即奠定了“橫亙千古、縱貫八荒”的宏大基調(diào)。
“當(dāng)昆侖雪照徹五千年文明經(jīng)緯，當(dāng)黃河浪淘盡百代王朝興替”，開篇兩句以極具畫面感的意象，勾勒出華夏文明的地理坐標(biāo)與歷史軌跡，昆侖之“高”象征文明的崇高與厚重，黃河之“長”代表歷史的綿延與不息，一靜一動、一高一低，形成鮮明的對比與呼應(yīng)，瞬間將讀者帶入宏大的歷史語境中。“當(dāng)甲骨上的卜辭、青銅上的饕餮、竹簡上的禮樂、宣紙上的詩詞在歲月長河中層層沉淀”，連續(xù)四個“當(dāng)”字引領(lǐng)的排比句，選取了華夏文明不同時期的標(biāo)志性文化符號，從商代甲骨到周代青銅，從先秦竹簡到歷代詩詞，展現(xiàn)了文明傳承的脈絡(luò)，也為后文對作品的解讀埋下伏筆。“總有一種筆墨能穿透時空的壁壘，沉睡的歷史蘇醒，文明的基因永續(xù)”，這一句承上啟下，既高度概括了優(yōu)秀文學(xué)作品的歷史價值，又自然引出《華夏史賦集錦》這部“筆墨”的誕生。
緊接著，作者用“絕非尋常文學(xué)創(chuàng)作，而是一部貫通天地人倫的文明史詩，一座矗立古今的文化昆侖，一曲震撼寰宇的精神絕唱”這一遞進(jìn)式的判斷句，對作品的價值進(jìn)行了高度定位，“文明史詩”凸顯其歷史厚度，“文化昆侖”彰顯其地位崇高，“精神絕唱”強(qiáng)調(diào)其藝術(shù)高度，層層遞進(jìn)、氣勢磅礴。最后以“它以‘開天辟地’之姿破題，以‘包舉宇內(nèi)’之勢鋪陳，以‘繼往開來’之魂收尾，其氣象之恢宏、筆力之蒼勁、意蘊(yùn)之深邃，超越了時代的局限，堪稱中華文脈傳承史上的‘第四部圣典’，為千秋萬代留下了不可磨滅的文明印記”收尾，既總結(jié)了作品的藝術(shù)特色，又將其置于中華文脈傳承的歷史長河中，賦予了作品不朽的歷史地位，開篇即達(dá)到了“語不驚人死不休”的藝術(shù)效果。
二、 敘事革命：以史脈為經(jīng)，織就立體文明圖譜
《華夏史賦集錦》最具突破性的成就，在于其顛覆了傳統(tǒng)歷史文學(xué)的敘事模式，以“朝代為經(jīng)、事件為緯、文化為魂、精神為骨”，構(gòu)建了一個多維度、立體化的文明敘事體系。不再是單一的歷史事件羅列，也不是孤立的文學(xué)意象堆砌，而是將歷史、文學(xué)、文化、哲學(xué)、藝術(shù)等多領(lǐng)域內(nèi)容融為一體，形成了“史中有文、文中有史、文史交融、魂脈貫通”的獨特敘事風(fēng)格，讀者在品讀中既能“見歷史之興衰”，又能“見文化之傳承”，更能“見精神之不朽”。
（一） 朝代敘事：精準(zhǔn)捕捉時代精神內(nèi)核
作者以朝代為基本敘事單元，從夏朝到清末，十二篇賦作各自獨立又相互關(guān)聯(lián)，每一篇都精準(zhǔn)抓住了對應(yīng)朝代的精神內(nèi)核，形成了鮮明的“時代畫像”?！断馁x》聚焦“肇基”，以大禹治水、涂山會盟、鑄鼎定疆等核心事件，展現(xiàn)了華夏文明從洪荒走向有序的開創(chuàng)精神，“開三代之先河，鑄九州之鴻范”是對夏朝歷史地位的精準(zhǔn)概括；《商賦》圍繞“玄奧”，以玄鳥降祥、甲骨卜辭、青銅禮器為核心意象，既展現(xiàn)了商代神秘的宗教文化，又凸顯了“天命靡常，惟德是輔”的歷史哲思；《周賦》主打“禮樂”，通過周公制禮作樂、封建宗法、百家爭鳴等內(nèi)容，呈現(xiàn)了周代制度創(chuàng)新與文化繁榮的盛況，“封建開百代之先河，宗法塑千載之倫?！钡莱隽酥艽鷮θA夏文明的深遠(yuǎn)影響。
秦之“雄烈與速亡”、漢之“雄渾與開拓”、唐之“開放與鼎盛”、宋之“風(fēng)雅與沉郁”、元之“壯闊與融合”、明之“剛健與堅守”、清之“開疆與困頓”，每個朝代的“時代畫像”都栩栩如生、入木三分。作者在敘事中，既注重展現(xiàn)朝代的輝煌成就，也不回避其歷史局限，如對秦朝，既肯定“書同文、車同軌”的歷史貢獻(xiàn)，也批判“刑太峻、役太苛”的統(tǒng)治弊端；對清朝，既認(rèn)可“開疆逾漢唐，定華夏今日版廓”的巨大功績，也痛惜“守成困祖制，誤寰球變革潮向”的歷史遺憾。這種客觀辯證的敘事態(tài)度，歷史不再是“非黑即白”的簡單評判，而是有血有肉、有溫度、有深度的文明演進(jìn)過程。
（二） 事件敘事：以小見大彰顯歷史邏輯
每個朝代的敘事中，作者并非面面俱到，而是精選具有標(biāo)志性、轉(zhuǎn)折性的歷史事件，以小見大、以點帶面，展現(xiàn)朝代的興衰脈絡(luò)與歷史邏輯?！稘h賦》中，從高祖“斬蛇起義”到武帝“開疆拓土”，從昭宣“中興之治”到漢末“黃巾起義”，選取了漢朝不同時期的關(guān)鍵事件，串聯(lián)起漢朝從建立、發(fā)展、鼎盛到衰落的完整歷程；《唐賦》以“玄武之變”開篇，經(jīng)“貞觀之治”“開元盛世”，到“安史之亂”，再到黃巢起義、朱溫篡唐，通過關(guān)鍵事件的遞進(jìn)，展現(xiàn)了唐朝“盛極而衰”的歷史軌跡。
更難得的是，作者在事件敘事中，注重挖掘事件背后的歷史邏輯與文明傳承。如《隋賦》中，作者詳細(xì)書寫了隋文帝“統(tǒng)一南北”“創(chuàng)立科舉”與隋煬帝“開鑿運河”“三征高麗”等事件，既展現(xiàn)了隋朝“興也驟，亡也忽”的歷史命運，又揭示了“一統(tǒng)之功，澤被后世；制度之創(chuàng)，影響千秋”的歷史邏輯，讓讀者明白隋朝雖然短暫，但其制度創(chuàng)新卻為唐朝的鼎盛奠定了基礎(chǔ)。這種“以事件見歷史，以歷史見邏輯”的敘事方式，作品既有故事性，又有思想性，避免了傳統(tǒng)歷史文學(xué)“重故事、輕邏輯”的局限。
（三） 文化敘事：貫穿文明傳承脈絡(luò)
《華夏史賦集錦》的敘事核心，不僅是歷史事件與朝代更迭，更是華夏文明的傳承與發(fā)展。作者在敘事中，將文化傳承作為一條暗線貫穿始終，從夏代的“禮器之規(guī)矩”到周代的“禮樂之制度”，從漢代的“儒術(shù)之獨尊”到唐代的“文化之包容”，從宋代的“科技之繁榮”到明代的“心學(xué)之興盛”，展現(xiàn)了華夏文明在不同時期的發(fā)展成果與傳承脈絡(luò)。
文化敘事中，作者既注重展現(xiàn)物質(zhì)文化的傳承，如青銅禮器、絲綢瓷器、建筑工藝等；也注重呈現(xiàn)精神文化的延續(xù)，如儒家思想、道家智慧、文學(xué)藝術(shù)、民族精神等。《宋賦》中，作者既書寫了“交子始行”“水運儀象”等科技成就，也描繪了“沈括筆談”“蘇子泛舟”等文學(xué)盛況，更凸顯了“岳王北伐”“陸游北望”的愛國情懷，展現(xiàn)了宋代文化“風(fēng)雅與忠義并存”的特質(zhì)；《明賦》中，從“永樂大典”的編纂到“天工開物”的問世，從王陽明心學(xué)到海瑞的剛正不阿，展現(xiàn)了明代文化“科技與思想并進(jìn)”的風(fēng)貌。這種全方位的文化敘事，讀者深刻感受到華夏文明“多元一體、綿延不絕”的強(qiáng)大生命力。
三、 語言巔峰：以駢儷為骨，鑄就文字不朽之魂
作為一部以駢儷文為主要體裁的鴻篇巨制，《華夏史賦集錦》的語言藝術(shù)達(dá)到了登峰造極的境界。作者深耕古詩詞研修三十余年，對駢文的格律、聲韻、對仗、用典等技巧爛熟于心，運用得出神入化，既堅守了古典駢文的精髓，又融入了現(xiàn)代文學(xué)的表達(dá)張力，形成了“雄健豪放、典雅瑰麗、凝練精準(zhǔn)、意蘊(yùn)深遠(yuǎn)”的獨特語言風(fēng)格，為當(dāng)代古典文學(xué)創(chuàng)作樹立了典范。
（一） 對仗：精工巧構(gòu)，形神兼?zhèn)?/p>
對仗是駢文的核心特征，也是《華夏史賦集錦》語言藝術(shù)的最大亮點。作者的對仗不僅追求形式上的工整，更注重內(nèi)容上的呼應(yīng)與深化，做到了“形神兼?zhèn)?、意脈貫通”，堪稱“對仗藝術(shù)的教科書”。
從對仗形式來看，作品涵蓋了工對、寬對、正對、反對、流水對、扇面對等多種類型，信手拈來皆成妙句?！昂樗礁?，黎民墊溺；玄圭既錫，九域肇基”（工對），以簡潔的四字對仗，精準(zhǔn)勾勒出夏朝建立的歷史背景，“洪水”與“玄圭”、“黎民”與“九域”、“墊溺”與“肇基”，對仗工整、意境鮮明；“斧劈龍門峽碎，河導(dǎo)三門砥立”（正對），以雄奇的動詞與名詞組合，展現(xiàn)大禹治水的神功，“斧劈”與“河導(dǎo)”、“龍門峽碎”與“三門砥立”，動作對應(yīng)、場景互補(bǔ)，極具畫面感；“書同文、度同尺，百代承其規(guī)；刑太峻、役太苛，二世傾其宗”（反對），以對比鮮明的對仗點評秦朝功過，“書同文、度同尺”與“刑太峻、役太苛”形成鮮明反差，“百代承其規(guī)”與“二世傾其宗”揭示了不同政策的不同結(jié)果，一針見血、擲地有聲；“祖逖北伐，中流擊楫，志復(fù)中原；庾亮謀國，舉措失當(dāng)，引發(fā)蘇峻之亂”（流水對），以事件的遞進(jìn)形成對仗，前一句寫祖逖的壯志豪情，后一句寫庾亮的決策失誤，既對仗工整，又形成情節(jié)的轉(zhuǎn)折，敘事更具張力。
從對仗內(nèi)容來看，作者的對仗既注重歷史事實的準(zhǔn)確呈現(xiàn)，又注重文學(xué)意象的營造與情感的表達(dá)?！八灸肝於︽?zhèn)山河，饕餮獰厲吞星月；四羊方尊禮天地，蟠螭蜿蜒動玄黃”，以商代標(biāo)志性青銅器為對象，對仗中既展現(xiàn)了青銅禮器的形制與紋飾，又凸顯了其“鎮(zhèn)山河、禮天地”的神圣地位，意象雄渾、氣勢磅礴；“玄奘踏雪，天竺佛光融雁塔；文成入蕃，邏些柳色綠唐風(fēng)”，以唐代兩位文化交流的代表人物為核心，對仗中既描繪了他們的壯舉，又營造了“佛光融雁塔”“柳色綠唐風(fēng)”的優(yōu)美意境，展現(xiàn)了唐代文化的包容與開放；“岳王北伐，朱仙鎮(zhèn)外鐵騎寒；秦檜南謀，風(fēng)波亭前忠魂冷”，以岳飛與秦檜的對比形成對仗，既呈現(xiàn)了歷史事實，又表達(dá)了對忠臣的敬仰與對奸佞的唾棄，情感真摯、感染力強(qiáng)。
（二） 聲韻：鏗鏘和諧，朗朗上口
聲韻和諧是駢文的重要特質(zhì)，也是《華夏史賦集錦》語言魅力的重要組成部分。作者深諳聲律之道，注重平仄搭配、押韻自然，文字自帶韻律感與節(jié)奏感，讀來朗朗上口、鏗鏘有力，如金石相擊、似雅樂鏗鏘。
平仄搭配上，作者嚴(yán)格遵循駢文“平仄相間、抑揚頓挫”的原則，每一句都有鮮明的節(jié)奏變化。如“西陲牧馬，襄公始列諸侯；函谷豺聲，穆公竟霸西戎”，“西陲”（平平）對“函谷”（平仄），“牧馬”（仄仄）對“豺聲”（平平），“襄公”（平平）對“穆公”（仄平），“始列”（仄仄）對“竟霸”（仄仄），“諸侯”（平平）對“西戎”（平平），平仄交替、錯落有致，形成了鮮明的節(jié)奏美；“漁陽鼙鼓動地來，馬嵬坡下蛾眉?xì)?；郭李鏖兵，香積寺前血漂杵；睢陽裂眥，雎陽城頭齒碎刃”，句式長短結(jié)合，平仄起伏變化，既保持了節(jié)奏的統(tǒng)一性，又避免了單調(diào)重復(fù)，讀來如戰(zhàn)鼓催征、情緒激昂。
押韻方面，作者多采用平水韻，韻腳疏密得當(dāng)、換韻自然，既保證了聲韻的和諧統(tǒng)一，又增強(qiáng)了作品的音樂性?！断馁x》一韻到底，韻腳“基、熙、范、立、辭、澤、畿、龜、方、彝、神、訓(xùn)、光、王”均屬平水韻“四支”部，讀來一氣呵成、流暢自然；《唐賦》則根據(jù)內(nèi)容的變化適時換韻，從“旒、漢、肱、鑒、塔、風(fēng)”到“來、殞、杵、刃、墀、荒、綱、沉”，韻腳的轉(zhuǎn)換與內(nèi)容的遞進(jìn)相呼應(yīng)，既保持了聲韻的美感，又讓情感表達(dá)更具層次。這種聲韻與內(nèi)容的完美融合，讀者在品讀歷史的同時，獲得強(qiáng)烈的聽覺享受，極大地增強(qiáng)了作品的藝術(shù)感染力。
（三） 用典：精準(zhǔn)恰當(dāng)，意蘊(yùn)深遠(yuǎn)
用典是古典文學(xué)的重要表現(xiàn)手法，也是《華夏史賦集錦》語言藝術(shù)的核心亮點。作者博覽群書、學(xué)識淵博，從《尚書》《左傳》《史記》等正史典籍，到《詩經(jīng)》《楚辭》《文選》等文學(xué)名著，再到諸子百家、民間傳說、考古資料，海量典故信手拈來、恰到好處，既豐富了作品的文化內(nèi)涵，又增強(qiáng)了歷史厚重感與文學(xué)表現(xiàn)力。
作者的用典既注重歷史事實的準(zhǔn)確性，又注重典故與語境的契合度，做到了“用典不晦澀、表意更精準(zhǔn)”?！靶缂儒a”典出《尚書·禹貢》，指大禹治水成功后，舜帝賜給玄圭，象征其功績得到天命認(rèn)可，用在此處既準(zhǔn)確展現(xiàn)了夏朝建立的合法性，又凸顯了大禹的歷史地位；“伊尹負(fù)鼎”典出《史記·殷本紀(jì)》，伊尹以烹飪之道喻治國之理，勸說商湯起兵伐夏，用在此處既展現(xiàn)了伊尹的賢能與智慧，又推動了商代歷史的敘事；“周公吐哺”典出《史記·魯周公世家》，周公為接待賢才，多次吐出剛吃下的飯，用在此處既凸顯了周公求賢若渴的胸懷，又揭示了周代能夠“八百年社稷”的重要原因。
更難得的是，作者的用典不僅是對歷史事實的引用，更是對文化精神的傳承與升華?！疤K武節(jié)旄”典出《漢書·蘇武傳》，蘇武出使匈奴，持節(jié)不屈十九年，用在此處既展現(xiàn)了漢代士人的氣節(jié)，又象征著華夏民族“寧死不屈、堅守氣節(jié)”的精神內(nèi)核；“陽明心學(xué)”典指明代王陽明創(chuàng)立的儒家學(xué)派，強(qiáng)調(diào)“知行合一”“致良知”，用在此處既展現(xiàn)了明代思想文化的成就，又傳承了華夏民族“求真務(wù)實、勇于創(chuàng)新”的精神品質(zhì)。這種“以典故傳歷史，以歷史傳精神”的用典方式，作品既有深厚的文化底蘊(yùn)，又有強(qiáng)大的精神感召力。
（四） 意象：雄渾瑰麗，意境深遠(yuǎn)
意象是文學(xué)作品的靈魂，《華夏史賦集錦》的成功，離不開作者對意象的精準(zhǔn)營造與巧妙運用。作者選取了大量具有華夏文明標(biāo)志性的意象，如昆侖、黃河、長城、長江、九鼎、青銅、竹簡、雁塔、紫禁等，通過對這些意象的描繪與組合，營造出雄渾瑰麗、意境深遠(yuǎn)的文學(xué)境界，讀者在視覺與精神的雙重沖擊中，感受華夏文明的厚重與磅礴。
作者的意象營造既注重個體意象的鮮明個性，又注重意象群的整體合力?！袄觥弊鳛槿A夏文明的發(fā)源地與精神象征，作品中多次出現(xiàn)，如“昆侖雪照徹五千年文明經(jīng)緯”“昆侖之高象征文明的崇高與厚重”，成為貫穿全文的核心意象，象征著華夏文明的根基與源頭；“黃河”作為母親河，是華夏文明的搖籃，“黃河浪淘盡百代王朝興替”“黃河之水凝作盛唐膽魄”，既展現(xiàn)了黃河的自然特質(zhì)，又象征著華夏文明的綿延與不息；“長城”作為古代軍事防御工程，是華夏民族的精神象征，“長城盤蟒，黔首歿而寒骨青”“長城龍脊蟠燕塞”，既描繪了長城的雄偉壯觀，又承載了華夏民族“自強(qiáng)不息、抵御外侮”的精神品質(zhì)。
同時，作者通過意象的組合與疊加，營造出宏大的意境。“司母戊鼎鎮(zhèn)山河，饕餮獰厲吞星月；四羊方尊禮天地，蟠螭蜿蜒動玄黃”，將司母戊鼎、四羊方尊等青銅意象與山河、星月、玄黃等自然意象組合，營造出“青銅禮器鎮(zhèn)天地、通鬼神”的神秘而雄渾的意境；“渭橋單騎退突厥，凌煙丹青銘股肱；玄奘踏雪，天竺佛光融雁塔；文成入蕃，邏些柳色綠唐風(fēng)”，將太宗、魏征、玄奘、文成公主等人物意象與渭橋、凌煙閣、雁塔、邏些等地理意象組合，營造出“盛唐氣象包容四海、澤被萬方”的宏大意境。這種意象組合既增強(qiáng)了作品的畫面感，又深化了作品的主題，讀者在品味意象之美的同時，感悟華夏文明的精神內(nèi)涵。
四、 史識卓絕：以哲思為魂，洞察文明演進(jìn)規(guī)律
《華夏史賦集錦》之所以能超越一般的歷史文學(xué)作品，成為一部不朽的文明史詩，關(guān)鍵在于作者兼具“史家的眼光”“文學(xué)家的才情”與“哲學(xué)家的智慧”。敘事中，作者不僅展現(xiàn)了華夏文明的興衰榮辱，更融入了對歷史規(guī)律、文明傳承、人生價值等重大問題的深刻思考，作品既有歷史的厚度，又有思想的深度，成為一部“以史為鑒、以文載道、以魂育人”的思想巨著。
（一） 歷史規(guī)律的深刻洞察
作者在書寫歷史的過程中，始終保持著清醒的歷史意識，注重從朝代更迭、事件發(fā)展中總結(jié)歷史規(guī)律，為后人提供借鑒?！疤烀页?，惟德是輔”是作品反復(fù)強(qiáng)調(diào)的核心觀點，從商代的“殷鑒未遠(yuǎn)，夏后之世”到周代的“鳳德雖衰，其鳴亦鏘鏘于竹簡”，從秦朝的“刑太峻、役太苛，二世傾其宗”到唐朝的“縱有安史裂疆，猶存顏公祭侄筆骨”，作者通過對不同朝代興衰的分析，深刻揭示了“得道多助，失道寡助”的歷史規(guī)律，說明一個王朝的興衰并非由天命決定，而是由統(tǒng)治者的德行與政策決定。
“以史為鑒，可以知興替”是作品的另一重要思想。作者在敘事中，注重展現(xiàn)不同朝代之間的借鑒與傳承關(guān)系，如漢代借鑒秦朝“嚴(yán)刑峻法”的教訓(xùn)，實行“黃老之學(xué)”與“儒術(shù)獨尊”相結(jié)合的政策，實現(xiàn)了長治久安；唐代借鑒隋朝“統(tǒng)一南北”“創(chuàng)立科舉”的經(jīng)驗，又吸取其“徭役繁重”“窮兵黷武”的教訓(xùn)，開創(chuàng)了“貞觀之治”“開元盛世”；宋代借鑒唐代“藩鎮(zhèn)割據(jù)”的教訓(xùn)，實行“重文偃武”的政策，雖然避免了軍閥割據(jù)，卻也埋下了積弱的隱患。這種對歷史規(guī)律的深刻洞察，作品不僅是對歷史的回顧，更是對未來的啟示，具有重要的現(xiàn)實意義。
（二） 文明傳承的堅定信念
作者在作品中，始終貫穿著對華夏文明的敬畏與熱愛，展現(xiàn)了對文明傳承的堅定信念?！啊堆拧贰俄灐凡唤^，即華夏文脈不絕；周禮未泯，則吾道終古長存”“雖莽操竊鼎，猶存蘇武節(jié)旄；縱宮闕丘墟，不廢太史汗簡”“縱使國滅鼎遷，猶聞隆中策對驚雷，建安風(fēng)骨凌霄”，這些文字既表達(dá)了對文明傳承的信心，又揭示了華夏文明“綿延不絕”的核心密碼——以文化為魂、以精神為骨，無論朝代如何更迭、世事如何變遷，文化與精神的傳承始終是華夏文明永續(xù)發(fā)展的根本動力。
作者認(rèn)為，華夏文明的傳承不是簡單的復(fù)制與模仿，而是在繼承中發(fā)展、融合中創(chuàng)新。從夏代的“禮器之規(guī)矩”到周代的“禮樂之制度”，是對禮儀文化的繼承與發(fā)展；從漢代的“儒術(shù)獨尊”到唐代的“三教并行”，是對思想文化的融合與創(chuàng)新；從宋代的“活字印刷”到明代的“天工開物”，是對科技文化的傳承與突破。這種“繼承—發(fā)展—創(chuàng)新”的文明傳承模式，華夏文明始終保持著強(qiáng)大的生命力，在不同的歷史時期都能煥發(fā)出新的光彩。
（三） 人文關(guān)懷的深厚積淀
《華夏史賦集錦》不僅是一部宏大的歷史敘事，更是一部充滿人文關(guān)懷的作品。作者在書寫歷史事件與人物時，始終飽含著對生命的敬畏、對百姓的悲憫、對英雄的敬仰、對正義的追求，冰冷的歷史變得有溫度、有情感。
對百姓的悲憫是作品人文關(guān)懷的重要體現(xiàn)?！昂樗礁睿杳駢|溺”“神州陸沉，蒼生涂炭”“徭役繁興，民不堪命”，這些文字既展現(xiàn)了歷史上百姓遭受的苦難，又表達(dá)了作者對百姓的深切同情；“文景垂裳：太倉粟腐蠹，貫朽不能校；渭橋馬闌干，鞭朽不可驅(qū)”，既描繪了文景之治的盛世景象，又體現(xiàn)了作者對百姓安居樂業(yè)的美好期盼。
對英雄的敬仰是作品人文關(guān)懷的另一重要維度?！按笥砩窆?，斧劈龍門峽碎，河導(dǎo)三門砥立”，贊美了大禹“忘家而臍胝何惜”的奉獻(xiàn)精神；“岳王北伐，朱仙鎮(zhèn)外鐵騎寒；秦檜南謀，風(fēng)波亭前忠魂冷”，敬仰岳飛“精忠報國”的愛國情懷；“文天祥丹心照汗青，陸秀夫負(fù)帝投?！?，歌頌了南宋末年忠臣義士“舍生取義”的氣節(jié)。這些文字既展現(xiàn)了英雄人物的光輝形象，又傳遞了“忠義、奉獻(xiàn)、愛國”等正能量價值觀。
對正義的追求是作品人文關(guān)懷的核心。“石碏誅惡，綱常即隳猶秉刑”“海瑞抬棺，冒死直諫”“林則徐虎門銷煙，壯民族氣節(jié)”，這些文字既展現(xiàn)了歷史上人們對正義的堅守與追求，又表達(dá)了作者對正義的崇尚與認(rèn)同。這種深厚的人文關(guān)懷，作品超越了單純的歷史敘事，成為一部能夠引發(fā)讀者情感共鳴、啟迪人生價值的精神之作。
五、 當(dāng)代價值：以經(jīng)典為橋，激活傳統(tǒng)文化生命力
當(dāng)代社會，傳統(tǒng)文化的傳承與創(chuàng)新面臨著諸多挑戰(zhàn)，而《華夏史賦集錦》的誕生，無疑為傳統(tǒng)文化的當(dāng)代傳播與活化提供了成功范例。作品以古典駢文為載體，書寫華夏千年文明，既堅守了傳統(tǒng)文學(xué)的精髓，又契合了當(dāng)代社會的文化需求，實現(xiàn)了“傳統(tǒng)與現(xiàn)代的完美對話”，具有重要的當(dāng)代價值。
（一） 文化自信的重要源泉
文化自信是民族復(fù)興的重要支撐，而華夏文明的千年歷史與燦爛文化，正是文化自信的核心源泉?！度A夏史賦集錦》通過對各個朝代文明成果的全面展現(xiàn)，從夏代的“開疆拓土”到唐代的“開放包容”，從宋代的“科技繁榮”到明代的“思想創(chuàng)新”，展現(xiàn)了華夏文明的博大精深、源遠(yuǎn)流長，讀者在品讀中深刻感受到民族自豪感與文化自信心。
作品中蘊(yùn)含的“自強(qiáng)不息、厚德載物”“民族團(tuán)結(jié)、國家統(tǒng)一”“以史為鑒、居安思?！薄伴_放包容、交流互鑒”等思想，既是華夏文明的精神內(nèi)核，也是當(dāng)代中國發(fā)展的重要理念。全球化背景下，這些思想能夠幫助當(dāng)代讀者樹立正確的歷史觀、文化觀，增強(qiáng)對本民族文化的認(rèn)同與熱愛，從而堅定文化自信，為民族復(fù)興提供強(qiáng)大的精神動力。
（二） 傳統(tǒng)文化傳承的創(chuàng)新范例
駢文作為中國古典文學(xué)的重要體裁，興于漢魏、盛于唐宋，在當(dāng)代面臨著“曲高和寡”的困境。而《華夏史賦集錦》不僅嚴(yán)格遵循駢文的格律規(guī)范，更在內(nèi)容與形式上進(jìn)行了創(chuàng)新突破，為駢文的傳承與發(fā)展注入了新的活力。
內(nèi)容上，作者將宏大的歷史敘事與深厚的文化內(nèi)涵融入駢文創(chuàng)作，拓展了駢文的表現(xiàn)邊界，駢文不再局限于寫景抒情、應(yīng)酬唱和，而是能夠承載厚重的歷史與深刻的思想，賦予了駢文新的時代內(nèi)涵；在形式上，作者在堅守駢文對仗、聲韻等核心特質(zhì)的基礎(chǔ)上，適當(dāng)簡化了用典的晦澀程度，增強(qiáng)了語言的流暢性與可讀性，當(dāng)代讀者更容易接受與喜愛，為駢文的當(dāng)代傳播掃清了障礙。
同時，作品還為傳統(tǒng)文化的當(dāng)代傳承提供了“以文載史、以史傳情、以情育人”的有效路徑。作品通過優(yōu)美的文學(xué)語言，將枯燥的歷史變得生動有趣，讀者在欣賞文學(xué)之美的同時，自然而然地了解歷史、傳承文化；通過對歷史人物與事件的情感化書寫，讀者在情感共鳴中接受傳統(tǒng)文化的熏陶，實現(xiàn)“潤物細(xì)無聲”的育人效果。這種傳承方式，既避免了傳統(tǒng)文化傳承的“說教式”“灌輸式”弊端，又增強(qiáng)了傳統(tǒng)文化的吸引力與感染力，為傳統(tǒng)文化的當(dāng)代傳承提供了重要借鑒。
（三） 當(dāng)代文化建設(shè)的重要滋養(yǎng)
《華夏史賦集錦》中蘊(yùn)含的豐富思想與文化資源，對當(dāng)代文化建設(shè)具有重要的滋養(yǎng)作用。價值觀建設(shè)方面，作品中展現(xiàn)的“愛國情懷、忠義精神、奉獻(xiàn)精神、創(chuàng)新精神”等，與社會主義核心價值觀高度契合，能夠為當(dāng)代價值觀建設(shè)提供豐富的歷史滋養(yǎng)與文化支撐；文化創(chuàng)新方面，作品中展現(xiàn)的華夏文明“在繼承中發(fā)展、在融合中創(chuàng)新”的傳承模式，能夠為當(dāng)代文化創(chuàng)新提供重要啟示，鼓勵當(dāng)代文化工作者既要堅守傳統(tǒng)、扎根民族文化土壤，又要勇于創(chuàng)新、吸收借鑒其他文化的優(yōu)秀成果，打造具有中國特色、中國風(fēng)格、中國氣派的當(dāng)代文化；文化交流方面，作品中展現(xiàn)的唐代“納四夷而包寰宇，萬國衣冠拜冕旒”、元代“驛路通寰宇，開東西交融先河”的開放包容精神，能夠為當(dāng)代中國的文化交流與對外開放提供重要借鑒，鼓勵當(dāng)代中國以更加開放的心態(tài)走向世界，推動中華文化走向世界，促進(jìn)不同文明的交流互鑒。
六、 不朽豐碑：以心血為墨，書寫文明傳承新篇
張從安先生耗費三十余載心血創(chuàng)作《華夏史賦集錦》，這份執(zhí)著與堅守本身就是對傳統(tǒng)文化傳承的生動詮釋。作者自幼熱愛古典文學(xué)，北京理工大學(xué)的工科背景讓他兼具理性思維與感性情懷，三十余年深耕不輟，博覽群書、遍訪古跡，從《尚書》《史記》等正史典籍到《資治通鑒》《通典》等史學(xué)巨著，從《文選》《文心雕龍》等文學(xué)經(jīng)典到各地考古報告、歷史研究論文，海量的知識積累為作品的創(chuàng)作奠定了堅實基礎(chǔ)。
創(chuàng)作過程中，作者秉持“精益求精、寧缺毋濫”的工匠精神，對每個朝代的歷史事實、每個事件的來龍去脈、每個典故的準(zhǔn)確運用、每個句子的平仄對仗，都反復(fù)推敲、打磨，力求達(dá)到“歷史準(zhǔn)確、文學(xué)優(yōu)美、思想深刻”的完美境界。為了確保歷史的真實性，作者多次查閱史料、咨詢專家，對有爭議的歷史問題進(jìn)行深入研究，力求給出客觀公正的呈現(xiàn)；為了追求文學(xué)的藝術(shù)性，作者對每個字、每個詞、每個句子都反復(fù)斟酌，力求做到“一字千金、字字珠璣”；為了凸顯思想的深刻性，作者對每個朝代的歷史規(guī)律、文明傳承進(jìn)行深入思考，力求讓作品既有歷史的厚度，又有思想的深度。
這份三十年如一日的執(zhí)著與堅守，《華夏史賦集錦》成為一部“字字皆心血、句句見真章”的不朽之作。作品不僅是作者個人創(chuàng)作生涯的扛鼎之作，更是中華文脈傳承史上的重要里程碑，以古典駢文的形式，完整呈現(xiàn)了華夏文明五千年的興衰榮辱與傳承發(fā)展，為千秋萬代留下了一部兼具歷史價值、文學(xué)價值與思想價值的文明寶典。
結(jié)語：史賦昭千古，文心照萬邦
這部作品以“文橫千古、史耀八荒”的宏大氣象，以“對仗精工、聲韻鏗鏘”的語言藝術(shù)，以“洞察規(guī)律、傳承文明”的深刻思想，以“心系家國、關(guān)愛蒼生”的人文情懷，成為一部跨越時代、超越國界的文明史詩。我們明白，華夏文明不是遙遠(yuǎn)的過去，而是融入我們血脈中的精神基因；古典文學(xué)不是束之高閣的古董，而是具有強(qiáng)大生命力的文化瑰寶；歷史不是冰冷的事件羅列，而是能夠啟迪未來、滋養(yǎng)心靈的智慧源泉。
“史賦昭千古，文心照萬邦?！睆垙陌蚕壬萌晷难獫补嗟摹度A夏史賦集錦》，必將如《詩經(jīng)》《楚辭》《史記》等經(jīng)典之作一樣，跨越時空、流傳千古，成為中華文脈傳承的不朽豐碑，激勵一代又一代中國人銘記歷史、傳承文明、砥礪前行，為實現(xiàn)中華民族的偉大復(fù)興而不懈奮斗！
