（上平十三元）
文/紀(jì)金東
巧匠攀巖壁，云間鬼斧痕。
潭澄飛瀑瀉，坑陡錦樓翻。
索道觀幽壑，玻橋望雅園。
風(fēng)前雙雀語(yǔ)，柳上一鶯喧。
【注】
2026年元旦假期，天氣陰冷。筆者在安靜的圖書(shū)館看書(shū)，隨手翻閱一本2025年12月15日出版的第26期《南風(fēng)窗》雜志，被一篇“悄然興起，廣州的東北游”的報(bào)道深深吸引，年輕時(shí)筆者多次去廣州出差。
故事發(fā)生在廣州東北角的增城區(qū)派潭鎮(zhèn)南昆山下白水寨旁，父親挖礦兒子填坑。這里曾是高龍采石場(chǎng)，為了城市建設(shè)需要，采石場(chǎng)日夜開(kāi)采，山石被一車(chē)車(chē)運(yùn)走，導(dǎo)致礦區(qū)地表裸露，植被稀疏，水土流失嚴(yán)重。2003年，礦區(qū)逐步關(guān)閉，只留下七個(gè)巨大而荒涼的礦坑。
很長(zhǎng)一段時(shí)間里，這里是一片被遺忘的荒蕪之地。政府想要推進(jìn)復(fù)綠工作，卻心有余而力不足，簡(jiǎn)單的植被重建，收效甚微。
二十年后，政府轉(zhuǎn)變思路變?yōu)檎龑?dǎo)，市場(chǎng)主導(dǎo)，多方協(xié)作，誰(shuí)投資誰(shuí)收益?，F(xiàn)在再用同一個(gè)視角俯瞰，曾經(jīng)裸露的巖壁爬滿(mǎn)了綠意，礦坑更是積水成湖，形成一片森林中的海洋。這里成了大灣區(qū)一小時(shí)生活圈內(nèi)知名的“森林海旅游度假區(qū)”。每年上百萬(wàn)游客驅(qū)車(chē)來(lái)此度假，數(shù)以千計(jì)當(dāng)?shù)厝艘簿徒玫焦ぷ鳈C(jī)會(huì)。
2025年10月5日， 筆者去浙江紹興游覽柯巖風(fēng)景區(qū)，它南臨鑒湖，北倚柯山，自三國(guó)以來(lái)因歷代開(kāi)山采石造就了眾多石壁，石宕等自然景觀。隋唐年間祖孫三代石匠歷經(jīng)百年相繼開(kāi)鑿而成的奇石“云骨”和精雕而成的彌勒石佛更是眾多景觀中的精品。千百年來(lái)，隨著自然景觀的點(diǎn)綴和宗教文化介入，加上文人墨客的點(diǎn)染，到清代已形成柯巖八景，現(xiàn)在是5A級(jí)景區(qū)。
2019年6月12日，筆者去上海世茂深坑洲際酒店，位于上海市松江佘山國(guó)家旅游度假區(qū)的天馬山深坑內(nèi) ，由世茂集團(tuán)投資建設(shè)，海拔負(fù)88米 ，于采石坑內(nèi)建成的自然生態(tài)酒店。酒店遵循自然環(huán)境 ，一反向天空發(fā)展的傳統(tǒng)建筑理念 ，下探地表88米開(kāi)拓建筑空間 ，依附深坑崖壁而建 ，是世界首個(gè)建造在廢石坑內(nèi)的自然生態(tài)酒店。被美國(guó)國(guó)家地理譽(yù)為“世界建筑奇跡”。
他山之玉可以攻錯(cuò)。從廣州市，紹興市，上海市對(duì)采石場(chǎng)遺址進(jìn)行改造變廢為寶的三個(gè)案例中，有很多經(jīng)驗(yàn)值得借鑒。中西部地區(qū)采煤場(chǎng)，采石場(chǎng)，采礦場(chǎng)更多，廢棄后不加治理極易引發(fā)地質(zhì)災(zāi)害，可以借鑒東部地區(qū)經(jīng)驗(yàn)改造。
云間：松江別稱(chēng)，松江是上海之根古跡和景點(diǎn)眾多
錦樓：豪華的五星級(jí)大酒店
玻橋：玻璃棧橋
雅園：空中花園
-2026.1.13 于上海 靜風(fēng)齋
Five-Character Lushi: InterContinental Shanghai Wonderland
(Tuned to Shangping Thirteen Yuan)
By Ji Jindong
Skillful craftsmen scaled the cliff’s steep face,
On clouds-kissing rocks, traces of divine craft embrace.
Clear pond below, cascading waterfalls pour down;
Steep pit around, resplendent towers stand profound.
A cableway offers views of the quiet glen;
A glass bridge frames the elegant garden.
Before the wind, two sparrows chatter and play;
On willow boughs, an oriole sings all the day.
Notes
During the cold and overcast 2026 New Year’s Day holiday, the author was reading quietly in the library. He casually flipped through the 26th issue of Southern Window magazine published on December 15, 2025, and was deeply attracted by a report titled "Rising Quietly: Northeast Tourism in Guangzhou". In his younger days, the author had traveled to Guangzhou on business many times.
The story takes place beside Baishuizhai, at the foot of South Kunlun Mountain in Paitan Town, Zengcheng District, northeast of Guangzhou—a tale of a father quarrying stones and a son filling the pits. This place was once Gaolong Quarry. To meet the needs of urban construction, the quarry operated day and night, with rocks transported away by truckloads, leaving the mining area with bare surfaces, sparse vegetation and severe soil erosion. In 2003, the mining area was gradually closed, leaving behind seven huge and desolate pits.
For a long time, this place was a forgotten wasteland. The government wanted to promote afforestation but struggled to achieve results; simple vegetation restoration barely made a difference.
Twenty years later, the government shifted its approach to government guidance, market leadership and multi-party collaboration, adhering to the principle of "whoever invests benefits". Looking down from the same perspective today, the once bare rock faces are covered with lush greenery, and the mining pits have filled with water to form a "sea in the forest". This place has become the well-known Forest Sea Tourism Resort within the Greater Bay Area’s one-hour living circle. Every year, millions of tourists drive here for vacations, and thousands of local residents have gained nearby employment opportunities.
On October 5, 2025, the author visited Keyan Scenic Area in Shaoxing, Zhejiang. Adjacent to Jianhu Lake in the south and leaning against Keyan Mountain in the north, the area has formed numerous natural landscapes such as stone cliffs and quarries due to centuries of stone quarrying since the Three Kingdoms Period. The exotic rock "Yungu" (Cloud Bone), carved by three generations of stone masons over a hundred years during the Sui and Tang dynasties, and the exquisitely sculpted Maitreya Stone Buddha are among the finest attractions. Over thousands of years, with the embellishment of natural scenery, the involvement of religious culture and the touch of literati and poets, the Eight Scenes of Keyan had taken shape by the Qing Dynasty. Today, it is a 5A-level scenic area.
On June 12, 2019, the author visited InterContinental Shanghai Wonderland, located in Tianma Mountain Quarry within Sheshan National Tourism Resort in Songjiang, Shanghai. Invested and constructed by Shimao Group, the hotel sits 88 meters below sea level and is a natural ecological hotel built inside a former stone quarry. Following the natural environment, it reverses the traditional architectural concept of building upward, expanding construction space 88 meters below the surface and clinging to the cliff of the quarry. As the world’s first natural ecological hotel built in an abandoned stone pit, it is hailed as a "world architectural wonder" by National Geographic.
The experience of others can serve as a lesson for us. There are many valuable experiences to learn from the three cases of transforming abandoned quarry sites into valuable assets in Guangzhou, Shaoxing and Shanghai. Central and western China have more coal mines, stone quarries and mining sites; if left unmanaged after abandonment, they are prone to geological disasters and can learn from the transformation experience of eastern regions.
Annotations
- Yunjian (Clouds Between): An alternative name for Songjiang, which is the root of Shanghai and boasts numerous historical sites and scenic spots.
- Jinlou (Splendid Tower): Refers to the luxurious five-star hotel.
- Boqiao (Glass Bridge): The glass plank road.
- Yayuan (Elegant Garden): The sky garden.
Written on January 13, 2026
At Jingfeng Studio, Shanghai
????作家簡(jiǎn)介????
紀(jì)金東，出生年月：1969年6月，
教育背景:1991年畢業(yè)于上海大學(xué)計(jì)算機(jī)專(zhuān)業(yè)；曾在印度國(guó)家信息技術(shù)學(xué)院NIIT系統(tǒng)學(xué)習(xí)高級(jí)軟件工程和項(xiàng)目管理課程；多次參加中國(guó)通訊學(xué)會(huì)組織的培訓(xùn)班。工作經(jīng)歷:疫情前，就職于數(shù)家上市企業(yè)，從事無(wú)線(xiàn)通訊研發(fā)工作；歷任軟件部門(mén)科長(zhǎng)、經(jīng)理，事業(yè)部總監(jiān)、副總經(jīng)理等職務(wù) 。興趣與社會(huì)職務(wù):愛(ài)好閱讀文學(xué)與寫(xiě)作，常旁聽(tīng)泗涇老年大學(xué)詩(shī)詞創(chuàng)作班課程；部分詩(shī)作發(fā)表于《九洲詩(shī)詞文學(xué)社》《上海交大詩(shī)詞》《一枝紅蓮文學(xué)詩(shī)社》《世界作家瀾韻府詩(shī)社》網(wǎng)刊；現(xiàn)任松江泗涇“將軍詩(shī)詞沙龍”副會(huì)長(zhǎng) ，一枝紅蓮文學(xué)詩(shī)社總顧問(wèn)，世界作家瀾韻府詩(shī)社總監(jiān)審。
????Author Introduction????
Ji Jindong,
Date of Birth: June 1969
Educational Background
Graduated from the Computer Science major at Shanghai University in 1991;
Studied advanced software engineering and project management courses at the National Institute of Information Technology (NIIT) in India;
Participated in multiple training programs organized by the China Institute of Communications.
Work Experience
Before the pandemic, worked at several listed companies, engaging in R & D of wireless communication;
Held positions including Section Chief, Manager of the Software Department, Division Director, and Deputy General Manager.
Interests and Social Positions
Enjoys literary reading and writing, often attends poetry creation classes at Sijing Senior University as an auditor;
Some of his poems have been published in online journals such as Jiuzhou Poetry and Literature Society, Shanghai Jiao Tong University Poetry, A Red Lotus Literary Poetry Society, and World Writers’ Lanyunfu Poetry Society;
Currently serves as the Vice - President of the “General Poetry Salon” in Sijing, Songjiang, the General Advisor of A Red Lotus Literary Poetry Society, and the Chief Auditor of World Writers’ Lanyunfu Poetry Society.
點(diǎn)評(píng)詞
石罅生花，詩(shī)筆筑境——紀(jì)金東《五律·上海世茂深坑酒店》的三重美學(xué)與時(shí)代回響
點(diǎn)評(píng)詞作者/柴永紅
挖掘機(jī)的轟鳴褪去，采石場(chǎng)的荒寂被時(shí)間封存，人類(lèi)文明的智慧總能在殘損的地貌之上，雕琢出意想不到的奇跡。上海世茂深坑洲際酒店，這座扎根于負(fù)88米深坑的建筑奇觀，既是現(xiàn)代工程技術(shù)的巔峰之作，亦是人與自然和解的生動(dòng)注腳。而紀(jì)金東先生的《五律·上海世茂深坑酒店》，則以格律詩(shī)詞的古典形制，為這一當(dāng)代奇跡寫(xiě)下了一曲兼具山水意趣與時(shí)代哲思的贊歌。這首詩(shī)跳出了單純?cè)佄锏鸟骄?，以“小律?shī)”承載“大敘事”，將建筑之奇、山水之美、發(fā)展之悟熔于一爐，平仄對(duì)仗的韻律之間，鋪展了一幅傳統(tǒng)與現(xiàn)代交織、荒蕪與新生共生的壯闊圖景。尤為難得的是，詩(shī)后的長(zhǎng)注并非簡(jiǎn)單的背景補(bǔ)充，而是與詩(shī)歌正文血脈相連的有機(jī)整體，三者互為表里，共同構(gòu)筑了一個(gè)兼具審美價(jià)值與現(xiàn)實(shí)意義的文本空間。
從文本結(jié)構(gòu)來(lái)看，這首五律嚴(yán)守格律，堪稱(chēng)近體詩(shī)創(chuàng)作的典范之作。全詩(shī)以“上平十三元”為韻，八句四聯(lián)，對(duì)仗工整，平仄協(xié)調(diào)，盡顯古典詩(shī)詞的格律之美。首聯(lián)“巧匠攀巖壁，云間鬼斧痕”，以“巧匠”對(duì)“鬼斧”，人工之精與天工之奇相映成趣；“攀巖壁”對(duì)“留斧痕”，動(dòng)作與痕跡互證，開(kāi)篇便將酒店建造的艱險(xiǎn)與精妙勾勒出來(lái)?！霸崎g”一詞更是一語(yǔ)雙關(guān)，既點(diǎn)明了松江的別稱(chēng)，又以“云”的縹緲之態(tài)，賦予這座深坑建筑一種超凡脫俗的氣質(zhì)，仿佛它并非人工所建，而是從云深之處自然生長(zhǎng)于崖壁之上。頷聯(lián)“潭澄飛瀑瀉，坑陡錦樓翻”，是全詩(shī)寫(xiě)景的核心句，也是動(dòng)靜結(jié)合的典范?！疤冻巍毖运o，“飛瀑瀉”言水之動(dòng)；“坑陡”言地貌之險(xiǎn)，“錦樓翻”言建筑之奇。一靜一動(dòng)，一險(xiǎn)一奇，勾勒出一幅立體的山水建筑圖?！板\樓”二字，既點(diǎn)明了酒店的豪華特質(zhì)，又以“錦”的絢麗色彩，為冷峻的崖壁與深潭增添了一抹溫暖的亮色?！胺弊謩t用得尤為精妙，打破了建筑的靜態(tài)感，仿佛這座樓宇在深坑之中隨風(fēng)輕舞，充滿(mǎn)了靈動(dòng)的生命力。頸聯(lián)“索道觀幽壑，玻橋望雅園”，視角由遠(yuǎn)及近，由景及人，將游客的游覽體驗(yàn)融入詩(shī)中?！八鞯馈迸c“玻橋”，是現(xiàn)代旅游設(shè)施的代表，它們的存在，既為游客提供了觀賞“幽壑”與“雅園”的絕佳視角，也在古典的山水意境中融入了現(xiàn)代元素，實(shí)現(xiàn)了傳統(tǒng)與現(xiàn)代的完美對(duì)話(huà)?！坝嫩帧毖陨羁又铄溆撵o，“雅園”言酒店配套景觀之雅致精巧，一“幽”一“雅”，相得益彰。尾聯(lián)“風(fēng)前雙雀語(yǔ)，柳上一鶯喧”，以禽鳥(niǎo)的啼鳴收束全詩(shī)，堪稱(chēng)神來(lái)之筆。如果說(shuō)前六句都是對(duì)建筑與山水的宏大描摹，那么這兩句則是對(duì)細(xì)微生機(jī)的捕捉。風(fēng)前雀語(yǔ)，柳上鶯喧，這些充滿(mǎn)活力的生命意象，為這座沉寂了數(shù)十年的深坑注入了自然的氣息，也讓整首詩(shī)的意境從雄渾壯闊轉(zhuǎn)向了清新靈動(dòng)。以景結(jié)情，余韻悠長(zhǎng)，讀者在欣賞完建筑奇觀之后，又能感受到一份寧?kù)o的自然之美。
格律與字句的考究之外，這首詩(shī)的更深層價(jià)值，在于它以古典詩(shī)詞的形式，承載了當(dāng)代中國(guó)生態(tài)文明建設(shè)的時(shí)代敘事。這一價(jià)值的實(shí)現(xiàn)，離不開(kāi)詩(shī)后長(zhǎng)注的有力支撐。長(zhǎng)注以作者的親身經(jīng)歷為線(xiàn)索，串聯(lián)起廣州增城、浙江紹興、上海松江三個(gè)礦坑改造的案例，形成了一個(gè)從歷史到現(xiàn)實(shí)、從個(gè)體到群體的完整敘事鏈條。作者在2026年元旦假期的圖書(shū)館里，偶然翻閱到《南風(fēng)窗》雜志關(guān)于“廣州的東北游”的報(bào)道，由此引發(fā)了對(duì)礦坑改造這一議題的思考。這一敘事起點(diǎn)，充滿(mǎn)了偶然性與趣味性，也讓整個(gè)長(zhǎng)注的敘述顯得親切自然。隨后，作者詳細(xì)講述了廣州增城高龍采石場(chǎng)的變遷：從“地表裸露，植被稀疏，水土流失嚴(yán)重”的荒蕪之地，到“巖壁爬滿(mǎn)了綠意，礦坑積水成湖”的“森林海旅游度假區(qū)”，這一轉(zhuǎn)變的背后，是政府發(fā)展思路的轉(zhuǎn)變——從“心有余而力不足”的單純復(fù)綠，到“政府引導(dǎo)，市場(chǎng)主導(dǎo)，多方協(xié)作”的多元模式。這一轉(zhuǎn)變，不僅讓廢棄的礦坑重獲新生，更讓當(dāng)?shù)匕傩諏?shí)現(xiàn)了家門(mén)口的就業(yè)，體現(xiàn)了生態(tài)效益與經(jīng)濟(jì)效益的統(tǒng)一。接著，作者又將目光投向浙江紹興的柯巖風(fēng)景區(qū)，這是一個(gè)歷史更為悠久的礦坑改造案例。從三國(guó)時(shí)期的開(kāi)山采石，到隋唐年間的祖孫三代開(kāi)鑿“云骨”與彌勒石佛，再到清代形成的“柯巖八景”，柯巖的變遷，是一部人與自然和諧共生的歷史長(zhǎng)卷。礦坑的改造并非只有現(xiàn)代模式一種，古人早已用他們的智慧，在采石之后，為這片土地賦予了文化與宗教的內(nèi)涵，成為流傳千年的旅游勝地。最后，作者將視線(xiàn)拉回上海世茂深坑洲際酒店，這座“世界首個(gè)建造在廢石坑內(nèi)的自然生態(tài)酒店”，是現(xiàn)代礦坑改造的巔峰之作?！耙环聪蛱炜瞻l(fā)展的傳統(tǒng)建筑理念，下探地表88米開(kāi)拓建筑空間”，被美國(guó)國(guó)家地理譽(yù)為“世界建筑奇跡”。這三個(gè)案例，分別代表了當(dāng)代、古代、現(xiàn)代三種不同的礦坑改造模式，共同證明了一個(gè)道理：廢棄的礦坑并非毫無(wú)價(jià)值的廢墟，只要運(yùn)用得當(dāng)，就能變廢為寶，成為造福一方的寶貴資源。長(zhǎng)注的結(jié)尾，作者發(fā)出了“他山之玉可以攻錯(cuò)”的感慨，呼吁中西部地區(qū)借鑒東部的經(jīng)驗(yàn)，對(duì)廢棄的采煤場(chǎng)、采石場(chǎng)進(jìn)行改造，這一呼吁，整首詩(shī)的格局得到了進(jìn)一步提升，從對(duì)一個(gè)建筑的吟詠，上升到了對(duì)區(qū)域協(xié)調(diào)發(fā)展、生態(tài)文明建設(shè)的思考，體現(xiàn)了一位當(dāng)代詩(shī)人的社會(huì)責(zé)任感。
詩(shī)歌正文與長(zhǎng)注的完美融合，使得這首詩(shī)兼具了“詩(shī)”的審美價(jià)值與“史”的記錄價(jià)值。正文以凝練的語(yǔ)言描繪建筑之美，長(zhǎng)注以詳實(shí)的文字記錄發(fā)展之路；正文是感性的藝術(shù)表達(dá)，長(zhǎng)注是理性的現(xiàn)實(shí)思考。二者互為補(bǔ)充，互為表里，共同構(gòu)筑了一個(gè)完整的文本世界。這個(gè)世界里，我們既能感受到古典詩(shī)詞的韻律之美，又能看到當(dāng)代中國(guó)生態(tài)文明建設(shè)的生動(dòng)實(shí)踐；既能欣賞到深坑酒店的建筑奇觀，又能領(lǐng)悟到變廢為寶的發(fā)展智慧。這種將藝術(shù)之美與現(xiàn)實(shí)之思相結(jié)合的創(chuàng)作方式，為當(dāng)代格律詩(shī)詞的創(chuàng)作提供了一個(gè)優(yōu)秀的范例。
此外，作者紀(jì)金東先生的個(gè)人經(jīng)歷，也為這首詩(shī)的創(chuàng)作提供了獨(dú)特的視角。作為一名畢業(yè)于上海大學(xué)計(jì)算機(jī)專(zhuān)業(yè)、從事無(wú)線(xiàn)通訊研發(fā)工作的工程師，紀(jì)金東先生有著嚴(yán)謹(jǐn)?shù)倪壿嬎季S與科學(xué)素養(yǎng)；而作為一名愛(ài)好詩(shī)詞創(chuàng)作、旁聽(tīng)老年大學(xué)詩(shī)詞課程的詩(shī)人，他又有著細(xì)膩的情感與深厚的古典文學(xué)功底。工程師的理性與詩(shī)人的感性，他身上實(shí)現(xiàn)了完美的融合。這種融合，也體現(xiàn)在這首詩(shī)的創(chuàng)作之中：對(duì)建筑結(jié)構(gòu)與地貌特征的準(zhǔn)確把握，體現(xiàn)了他的理性思維；對(duì)山水意境與生命意象的細(xì)膩描摹，體現(xiàn)了他的感性情懷。同時(shí)，作為松江泗涇“將軍詩(shī)詞沙龍”副會(huì)長(zhǎng)、一枝紅蓮文學(xué)詩(shī)社總顧問(wèn)，紀(jì)金東先生對(duì)家鄉(xiāng)松江的歷史文化有著深厚的感情。“云間”一詞的運(yùn)用，不僅是對(duì)地域文化的巧妙融入，更是對(duì)家鄉(xiāng)這片土地的深情禮贊。他以詩(shī)筆為家鄉(xiāng)的建筑奇跡立傳，也以詩(shī)筆為家鄉(xiāng)的生態(tài)文明建設(shè)喝彩。
紀(jì)金東先生的這首《五律·上海世茂深坑酒店》，則很好地平衡了藝術(shù)之美與現(xiàn)實(shí)之思。既有著古典詩(shī)詞的格律之美、意境之美，又有著當(dāng)代詩(shī)歌的現(xiàn)實(shí)關(guān)懷、時(shí)代精神。以石罅生花的奇跡，詮釋了人與自然的和解之道；以詩(shī)筆筑境的匠心，書(shū)寫(xiě)了當(dāng)代中國(guó)的發(fā)展傳奇。
從更廣闊的文化視野來(lái)看，這首詩(shī)的創(chuàng)作，也體現(xiàn)了中國(guó)傳統(tǒng)文化在當(dāng)代的創(chuàng)造性轉(zhuǎn)化與創(chuàng)新性發(fā)展。中國(guó)古典詩(shī)詞歷來(lái)有“詠物言志”的傳統(tǒng)，從屈原的《橘頌》到陸游的《卜算子·詠梅》，無(wú)數(shù)詩(shī)人通過(guò)對(duì)自然物象的吟詠，寄托自己的情感與志向。紀(jì)金東先生的這首詩(shī)，繼承了這一傳統(tǒng)，他吟詠的對(duì)象雖然是一座現(xiàn)代建筑，但他所運(yùn)用的藝術(shù)手法、所追求的意境之美，都與古典詩(shī)詞一脈相承。同時(shí)，他又賦予了這一傳統(tǒng)以新的時(shí)代內(nèi)涵，將詠物與生態(tài)文明建設(shè)、區(qū)域發(fā)展等當(dāng)代議題相結(jié)合，古典詩(shī)詞在當(dāng)代煥發(fā)出新的生命力。這種創(chuàng)作方式，不僅豐富了當(dāng)代詩(shī)詞的題材內(nèi)容，也為傳統(tǒng)文化的傳承與發(fā)展提供了新的路徑。
綜上所述，紀(jì)金東先生的《五律·上海世茂深坑酒店》，是一首將古典格律與當(dāng)代敘事完美融合的佳作。以精湛的藝術(shù)手法，描繪了上海世茂深坑酒店的建筑奇觀；以深刻的時(shí)代思考，展現(xiàn)了中國(guó)生態(tài)文明建設(shè)的偉大成就；以獨(dú)特的個(gè)人視角，實(shí)現(xiàn)了工程師理性與詩(shī)人感性的有機(jī)統(tǒng)一。這首詩(shī)不僅為當(dāng)代格律詩(shī)詞的創(chuàng)作提供了優(yōu)秀的范例，也為我們理解人與自然的關(guān)系、傳統(tǒng)與現(xiàn)代的融合，提供了一個(gè)全新的視角。這個(gè)石罅生花的奇跡里，我們看到了人類(lèi)智慧的光芒；這首詩(shī)筆筑境的贊歌里，我們聽(tīng)到了時(shí)代發(fā)展的足音。
