Qinshihuang Mausoleum and the Terracotta Warriors

The Qinshihuang Mausoleum and the Pits containing terracotta warriors and horses are located in Lintong County, near Xi'an City, capital of Shaanxi Province. Constructed from 246 BC to 208 BC, the mausoleum was the first of its kind in Chinese history. With a height of 76 m, the mausoleum is laid out in line with the dimensions of Xianyang, the capital of the Qin Dynasty. It is composed of the inner compound and the outer compound, which have perimeters of 2.5 km and 6.3 km, respectively. The tomb is located in the southwest of the inner compound.
The pits containing the terracotta army guarding the mausoleum were discovered in 1974. Three pits have been excavated so far. Occupying an area of over 200,000 sq. m, the three pits are arranged in a triangular shape, facing the east. A total of 8,000 life-size terracotta warriors, chariots and horses, and hundreds of bronze weapons have been excavated from the pits.
Two bronze carriages excavated from the west of mausoleum have four horses harnessed to each, and in each stand an official and a driver. They display an exquisite casting technique, and are regarded as bronze masterpieces and national treasures.
Continuing excavation of the mausoleum area promises to reveal more wonders in the years to come.
b. Cultural Heritage
The Qinshihuang Mausoleum is one of the world's largest imperial mausoleums. Although the actual tomb chamber has not been excavated yet, probes have determined that it is a luxurious underground palace with a unique structure and abundant funeral objects.
Many state leaders and experts worldwide believe that the discovery of the pits is a major archeological find and can be called the eighth wonder of the world, paralleling Egypt's pyramids. The excavated objects are precious material for the study of military science, politics, economy, culture, science and arts of the Qin Dynasty, over 2,000 years ago.
The terracotta warriors and horses represent a peak in the world's history of the art of pottery, adding glamour to China's civilization and the world's esthetics.

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Christmas tree lighted

People attend the Christmas tree lighting ceremony during the traditional Christmas market at the medieval Old Town Square in Prague November 29, 2008.

The Great Wall (North China)

One of the most magnificent ancient military defense works in the world.
The construction of the segments which later made up the Great Wall began during the Spring and Autumn Period and lasted into the Warring States Period (c. 7th century BC-4th century BC). Many feudal states built hundreds of li of wall fortifications as boundaries. These unlinked walls were the embryonic form of the Great Wall. In 221 BC, Emperor Qin Shihuang ordered the walls of the Qin, Zhao and Yan kingdoms in the north to be linked up and reinforced, after he united China. The extended new wall stretched from Lintao (now Lop Nur in Xinjiang) in the west through Fengsui to the western edge of Xinjiang, with a total length of over 20,000 li. The construction work lasted for over 2,000 years, through such dynasties as the Northern Wei, Northern Qi, Eastern Wei, Northern Zhou, Sui, Liao, Kin and Ming.
It was during the Ming Dynasty that the Wall took on its present form. At that time, it stretched some 6,300 km from the Yalujiang River in the east to Jiayuguan Pass in the west, and is known as the Ten Thousand Li Wall. Rammed earth was later replaced by stone, according to the varying physical features of individual sections. Other materials such as planks were also used. Sometimes mountain ridges were even taken directly as the body of the wall.
The Great Wall, a product of cultural conflict and convergence, and integration of farming and nomadic economies, contributed to promote the economic development of the Central Plains, to unite and stabilize the multi-ethnic nation, and to secure the free flow of transport along the Silk Road. Though the Wall no longer functions as it used to, it is a monument of ancient Chinese culture and constitutes a wonder of the world, together with Pyramids of Egypt, Colosseum Rome, the Leaning Tower of Pisa, and so on.

Mt. Lushan (Jiujiang City, Jiangxi Province)

This Mountain is located in the northern part of Jiangxi Province, to the south of the Yangtze River and northwest of Poyang Lake. The picturesque Mountain is well known in China. The scenic area, covering 302 square km, houses 16 natural wonders, 474 scenic spots and 171 peaks.
The scenery in the Lushan scenic area is breathtaking. It is full of sheer peaks and precipices, changeable clouds and fogs, silver springs and flying waterfalls. The flora is diverse and comprises about 3,000 species. Features of glaciation during the Quaternary Period make Mt. Lushan even more mysterious. There are millions of migratory birds in the Poyang Lake area. The dancing of the largest number of cranes over the water makes it a world wonder.
Lushan abounds in historic and cultural relics. The great historian of the Han Dynasty, Sima Guang, climbed Mt. Lushan, and wrote about it in his classic The Historical Records. Bailudongshuyuan (White Deer Cave Academy) was the most famous of the four biggest academies in ancient China, and enjoys high prestige in the Chinese history of education.
Donglin Temple (East Grove Temple), built by eminent monks in the Eastern Jin Dynasty, was the birthplace of the Jintu (Pure Earth) sect of Buddhism. More than 1,500 noted figures in history visited this Mountain, leaving behind some 4,000 pieces of verse and over 900 inscriptions on the cliffs, as well as other writings, prints and calligraphic works. There are about 600 villas here, with the styles of 18 nations and cultures.

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Mt. Wuyi (Wuyishan City, Fujian Province)

Located south of Wuyishan City, Fujian Province, with an area of 70 sq. km, the area has what is probably the largest, most typical and best-preserved humid subtropical native forest in the world. It was nominated as a biosphere reserve of UNESCO's Man and the Biosphere Program in 1987.
The cliffs and waters of Mt. Wuyi are outstanding. The workings of Nature of a typical Danxia landform have left behind 36 peaks, 72 caves, 99 prominent rocks and 108 scenic spots. The Stream with Nine Turnings is emerald green and crystal clear. The beauty of the mountain and its waters has made Wuyi known as the most attractive mountain in southeast China.
Mt. Wuyi is also known for being of great historic and cultural value. Cultural relics include the extensive remains of an ancient city of the Min Yue people, dating back over 2,000 years, the Ziyang Academy of Classical Learning, the tomb of Zhu Xi, cliffside sculptures, etc. Zhu Xi, a philosopher of the Southern Song Dynasty, taught for 40 years at Mt. Wuyi and made it an academic center of southeast China.

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China's first home-made jet completes maiden flight

China's first homegrown regional jet ARJ21-700 is seen in this picture taken before it takes its maiden flight in Shanghai, East China, November 28, 2008. The maiden flight began at 12:23 p.m. and lasted for about an hour at Shanghai Aircraft Manufacturing Factory, where the jet rolled out the general assembly line at the end of last year

Mt. Emei and the Leshan Giant Buddha (Emeishan City, Sichuan Province)

Here there is a well-protected landscape that contains a diverse natural environment and a rich cultural heritage. Biologically, the area hosts some 3,200 plant species and 2,300 animal species. There are a number of threatened species, some being endemic to Mt. Emei. Atop the Golden Summit, which is 3,077 m high, one can enjoy the sunrise, seas of clouds, the "Buddha's halo and the sunset glow.

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Shining in its Own Style

3166962008-11-07 16:56:19.0Shining in its Own Style13552Customen/enpproperty-->
Shining in its Own Style

For centuries Asian rulers and the wider society has had a devoted attachment to the luxurious green stone that is jade.
Jadeite, a kind of pyroxene with a degree of hardness, found mainly in Burma was popularly used in the Qing dynasty (1644-1911).




In olden times, all men of the upper class wore personal ornaments of jade. Jade artifacts are, in fact, an important part of Chinese culture.
Jadeite, the most valued member of the jade family, became popular in China shortly after it was imported from Myanmar in the early Qing Dynasty (1644–1911). Because of its physical qualities, jade, jadeite in particular, suits the artistic and intellectual tastes of the Chinese people. The Chinese are reserved and mild. In their eyes, westerners are straight forward and aggressive, quite like the diamond.


Since 2950 BC, jade has been treasured in China as the royal gemstone, yu; the word yu is used in Chinese to call something precious. Jade was thought to preserve the body after death and can be found in emperors' tombs dating back thousands of years ago.
In addition jade was a symbol of love and virtue as well as a status symbol.
Gold may have a price, but jade is priceless
Testifying to how much the Chinese are fond of jade is this time-honored proverb: “Gold may have a price, but jade is priceless.” The value of gold can be determined by measuring its weight. Not jade. The value of a piece of jade or a jade artifact is “assessed” by taking numerous factors into account. For example, the purity and color, the sound it produces when struck, and when the jade piece was discovered or when a jade artifact was produced all contribute to affect a piece’s value.

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Mt. Huangshan (Huangshan City, Anhui Province)

Located in the south of Anhui Province, straddling Shexian, Yixian, Taiping and Xiuning counties. It was called Mt. Yishan in the Qin Dynasty, and got its current name in 747 during the Tang Dynasty.
The scenic area covers 154 sq. km, and is celebrated for its peaks, rocks, pines, clouds and springs. The renowned Four Wonders of Mt. Huangshan are the spectacular rocks, odd-shaped pines, hot springs and sea of clouds. Other attractions are lakes, waterfalls, streams, rare flowers and animals. Forests cover 83.4% of the area, with some 1,452 species of native plant which fall into 203 families. Mt Huangshan also has a rich cultural heritage. Xu Xiake, a famous traveler of the Ming Dynasty visited Huangshan twice, and described it in a poem, calling it best of all mountains in China.

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Natural & Cultural Heritage 1

Mt. Taishan (Tai'an City, Shandong Province)Lies in central Shandong Province, spanning the ranges of Tai'an and Jinan Cities. It covers an area of 550 sq. km. It was known in ancient times as Daishan until it was renamed Taishan in the Spring and Autumn Period, and was regarded as pre-eminent among China's Five Holy Mountains...

Most Beautiful Bottom in the World

Brazil's Melanie Nunes Fronckowiak (R) and France's Saiba Bombote pose after they won the female and male final of the "Most Beautiful Bottom in the World" competition in Paris November 12, 2008.[

Mumbai bleeds in terrorist attack

MUMBAI: Twelve places attacked, more than 125 people, including six foreigners, killed, close to 300 injured, scores of people held hostage by assailants in two premier hotels, widespread fear among people.

Smoke billows out of the Taj Mahal Palace and Tower, one of the two hotels attacked by terrorists in Mumbai, yesterday. Blasts and gunfire ripped India's financial and commercial hub, killing more than 100 people, including some policemen. Security officers killed a number of the attackers, too. AFP

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伏羲画卦

　相传八卦是伏羲画的。在人类的蒙昧时代，生活艰难困苦，就在这时渭水上游的氏族部落诞生了一位划时代的伟大人物－－伏羲。他领导部族辛勤劳作，“断竹、续竹、飞土、逐肉”，却依旧食不果腹，饥寒交迫。
　　他十分茫然，不知不措。在闲暇之余，时常盘坐卦台山巅，苦思宇宙的奥秘。仰观日月星辰的变化，俯察山川风物的法则，不断地反省自己，追年逐月，风雨无阻。
　　也许是他的精诚感动了天地，有一天，他的眼前出现了一派美妙的幻境，一声炸响之后，渭河对岸的龙马山豁然中开，但见龙马振翼飞出，悠悠然顺河而下，直落河心分心石上，通体卦分明，闪闪发光。这时分心石亦幻化成为立体太极，阴阳缠绕，光辉四射。此情此景骤然震撼了伏羲的心胸，太极神图深切映入他的意识之中，他顿时目光如炬，彻底洞穿了天人合一的密码；原来天地竟是如此的简单明了－－唯阴阳而已。为了让人们世世代代享受大自然的恩泽，他便将神圣的思想化作最为简单的符号，以“一”表示阳，以“--”表示阴，按四面八方排列而成了八卦。伏羲一画开天，打开了人们理性思维的闸门，将困苦中挣扎的人们送上了幸福的彼岸，从而博得了人们永生永世的怀念和尊崇。
　　卦台山、伏羲庙、先天殿和天水伏羲庙先天殿、伏羲圣像侧，一面是振翼龙马，一面是河图洛书，天花板上是六十四卦图，这些都是伏羲画卦传说的形象化写照。原卦台山上还留存石刀、石斧等生产工具，以表示对伏羲领导部族艰苦奋斗的纪念。
编辑本段【伏羲台画卦台】　　伏羲台分三层，最上层为不等边八角形，俗称八卦台，又称伏羲画卦台。
　　伏羲画卦台，相传中央是伏羲八卦亭，上悬伏羲先天八卦，八卦亭有石龟两只，各有一青石碑。一书“开物成雾”，一书“先天精蕴”。伏羲八卦亭前侧有一方青石算盘。青石算盘散布算盘子。看上去，既象河图，又象洛书。但是细细一看，他既不是河图，又不是洛书。多少年来没有人能够揭开其中的奥妙。“石算盘”是伏羲画卦时的通灵之物，蕴涵的天机又是我们所能够理解的呢。
　　伏羲八卦亭旁有一棵古柏。人们称为“八卦柏”。八卦柏南看南歪，北看北歪。相传是伏羲画卦泄了天机，害怕天帝知道了搜出八卦来。于是将八卦埋在画卦台中央，为了便于查找，又从台东南角拔了一棵柏树重新栽上，作为记号。就这样左一脚，右一脚的夯实土。结果成了现在的南看南歪，北看北歪的样子。“八卦柏”是不是与伏羲的“八卦阵”有异曲同工之妙呢！
编辑本段【伏羲画卦的神话学考察】　　《易·系辞下》说：“古者包牺氏之王天下也，仰则观象于天，俯则观法于地。观鸟兽之文与地之宜，近取诸身，远取诸物，于是始作八卦，以通神明之德，以类万物之情。”
　　这里讲作为《易》的基础的八卦是史前时期的伏羲所创，这个说法是否成立，过去的易学家都照着讲，没有提出什么怀疑。但是，到了近代以来，人们才渐渐对此表示疑问。目前考古发现的有关《易》卦的材料，最早的是殷商时的筮数。筮数是一连串的数字，有的是三个数字，有的是六个数字，这些数字可以按奇数为阳、偶数为阴的原则，转译为《易》卦。
　　例如“一一六八八一”，便是下震上巽的《益》卦。《易》卦源于筮数。已知的筮数实例以殷墟出土的几件为最早，有的应用于器物，如陶器、石器、铸铜用的陶范等，有些见于甲骨，时代都不早于殷墟中期，即殷王武乙、文丁时。在陕西等地的商末周初遗存中筮数的例子大为增多，说明周人可能比殷人更广泛地运用筮法，而且这种筮法已经比较复杂成熟。
　　顾颉刚在1929年撰《周易卦爻辞中的故事》一文，推定《周易》卦爻辞“著作年代当在西周初叶”，此说精确不磨，为学者所遵信。以此见之，《易》卦不可能为伏羲所画，伏羲画卦仅是一种传说，况且伏羲仅是一个神话传说中的人物，在历史上是否实有此人还是一个问题。
　　但是，“伏羲画卦”的传说却由来已久，司马迁在《史记·太史公自序》中就曾说：“余闻之先人曰：‘伏羲至纯厚，作《易》八卦’。”可见起码在秦汉间伏羲画卦的传说就已盛行。那么“伏羲画卦”的传说是如何产生的？从伏羲到《易》卦，这其中包含着什么样的文化意蕴？本文试图从神话学的角度讨论之。
　　一、作为创世神的伏羲
　　伏羲的名号，古籍中有许多写法，除“伏羲”（《庄子·人间世》）之外，还有“伏戏”（《庄子·大宗师》）、“伏牺”（《法言·问题》）、“包牺”（《易·系辞下》）、“宓犠”（《汉书·古今人表》）、“庖牺”（《水经注·渭水》）、“虑羲”（《管子·封禅》）等。写法不同，皆为同音相转。《路史·后纪一》云：“伏、虑，羲、戏，字义皆同，史传或谓服牛乘马，因号伏牺，取牺牲以充庖厨因号庖牺最为鄙妄。按庄周等古书皆作虑戏，无作犠者。且伏羲古或用戏，而牛之字未有用戏者，况伏岂得为服，御字乎？故《世纪》云：‘后世音缪，或谓伏犠或作虑犠，皆失其旨’。”他在这里认为本来的写法应是“伏羲”，其它各种写法均是后世妄改。
　　在中国古代传说时代的帝王世系中，伏羲被奉为“三皇之首”、“百王之先”，地位十分显赫。但是，一个值得注意的问题是，相对于黄帝等中华民族的始祖，伏羲氏在古代典籍中晚出。最早记载伏羲的是出于战国中晚期的《庄子》，然庄子此公好古，“著书十馀万言，大抵率寓言也”。所言伏羲，亦虚亦实，亦神亦人，大都是托名设譬，借以形象说理，未可当作信史。《庄子》中关于伏羲的记载有5处，名号有三种写法，或记为“伏羲”、或记为“伏犠”、“伏戏”，前后不统一；身份混乱，或人或神；在古帝王中序列不定，或在禹、舜、黄帝之后，或在其前。这说明在庄子时期，伏羲尚在传说时期、创造过程中，是一个不确定的、尚未定型的人物。《史记》从黄帝记起，不为伏羲作传。东汉班固《汉书》突破《史记》的界限，将上古帝王从黄帝推至伏羲，《汉书·律历志》引刘歆《世经》言：“庖牺继天而王，为百王先。首德始于木，故帝为太昊。”《汉书·古今人表》中首叙伏羲，次列炎、黄，以伏羲为历史源头。至此，伏羲开始登上官定正史。晋代皇甫谧所著专述帝王世系的《帝王世纪》，上起三皇，下迄汉魏。三皇首列伏羲，言伏羲“继天而王”、“作八卦”、“造书契”、“作瑟三十六弦”、“制嫁娶之礼”、“取牺牲以供庖厨”等，功业卓勋，伏羲被推为中华民族始祖、文化的肇始者。在传世的古代典籍中，伏羲经历了一个从无到有，从神到帝，对伏羲的记载从凌乱到系统的衍化过程。因而，伏羲的产生，是人们历史意识不断丰富的结果，借用顾颉刚的话，伏羲及其赫赫功业，是在漫长的历史发展过程中逐渐地“层累”地造成的。
　　事实上，伏羲首先是一个神话人物，是上古神话中的创世神祗。
　　近人对于伏羲最权威的考论是前辈学者闻一多所著《伏羲考》，闻一多此文前半部分从传世文献中搜集了大量龙蛇记载，加上当时已发现的汉代画像砖石，证明伏羲为龙图腾；后半部采集了近 50则西南少数民族关于伏羲女娲在洪水过后兄妹婚配再造人类的故事和民俗资料，并加以语音训诂，证明伏羲即为盘古，是南方苗蛮各族的祖先神。此文在以后半个多世纪中被广泛征引，已为不易之论。
　　董楚平在《中国社会科学》2002年第3期发表《中国上古创世神话钩沉》一文，通过对长沙子弹库战国《楚帛书甲篇》的解读，为闻一多的立论提供了新的证据。长沙子弹库楚帛书出土于1942年，据1973年对墓藏发掘的报告判断，墓藏年代为战国中晚期。楚帛书甲篇是一个完整的创世神话文本，经董楚平解读，释文大意是：
　　天地尚未形成，世界处于混沌状态之时，先有伏羲，娶女娲，伏羲、女娲二神生了四个儿子。这四个儿子后来成为代表四时的四神。四神开辟大地，这是他们懂得阴阳参化法则的缘故。由禹与契来管理大地，制定历法，使星辰升落有序，山陵畅通，并使山陵与江海之间阴阳通气。当时未有日月，由四神轮流代表四时。四神的老大叫青干，老二叫朱四单，老三叫白大然，老四叫墨干。一千数百年以后，帝俊生出日月。从此九州太平，山陵安靖。四神还造了天盖，使它旋转，并用五色木的精华加固天盖。炎帝派祝融以四神奠定三天四极。人们都敬事九天，求得太平，不敢蔑视天神。帝俊于是制定日月的运转规则。后来共工氏制定十干、闰月，制定更为准确的历法，一日夜分为霄、朝、昼、夕[2]。
　　长沙子弹库战国《楚帛书甲篇》的发现的解读，给予我们以下认识：其一，它是我们所能见到的先秦时期惟一完整的创世神话，与现代中国各民族流传的创世神话相比，它保留着更多史前神话的旧痕和原始思维的特点；其二，它是我们所能见到的最早的关于伏羲的出土文献记载，证明战国中晚期已有伏羲传说；其三，它证明了伏羲创世神的身份。
　　现代考古发现的大量汉墓壁画、画像砖石和民间流传的洪水过后伏羲、女娲兄妹婚配再造人类的故事，均是伏羲创世神话的遗存。汉墓壁画、画像砖石中，伏羲、女娲人首蛇身，连体交尾，图中伏羲手捧太阳或日规，女娲手捧月亮或月矩。手持日月是主宰宇宙的象征，手持规矩则是创造的象征。有些伏羲、女娲交尾图还伴有四神画像，如《楚帛书甲篇》所言，四神是伏羲、女娲的儿子，是四时的代表，是经营天地的大神。
　　二、作为宇宙本原、起源观念的伏羲
　　在确定了伏羲创世之神的身份后，接下来的问题是，伏羲是如何成为创世神的？
　　民族学资料表明，创世神话产生与流传的主要途径是原始宗教祭祀活动。人类进入早期文明以后，宗教开始思索宇宙起源，思索的结果是产生创世神话。创世神话所思考的宇宙起源和生成的问题，也是人类早期哲学要探索的问题。近年出土并解读的郭店楚墓竹简《太一生水》，展示了一个系统完整的宇宙生成模式。宇宙生成的原点是“太一”，“太一”即同于《老子》之所谓的“道”。
　　《老子》二十五章：“有物混成，先天地生。寂兮寥兮，独立而不改，周行而不殆，可以为天下母，吾不知其名，字之曰道，强为之名曰大。”“大”通“太”，即为“太一”，《吕氏春秋》：“道也者，至精也，不可为名，不可为形，强为之名，谓之太一。”
　　宇宙起源于“太一”，而“太一”本是一种混沌无形的元气。《淮南子·诠言训》：“洞同天地，浑沌为朴。未造而成万物，谓之太一。”汉高诱注：“太一，元神总万物者。”这个总万物的元神，应该就是伏羲。“羲”，《说文》释：“羲，气也。”“太一”为气，伏羲也是气，即是太始之初的混沌之气。
　　“太一”形为“混沌”，宇宙起源于混沌。混沌神话在南方盘古故事中保留完整。《御览》卷二引《三五历记》：“天地混沌如鸡子，盘古生其中，万八千岁。天地开辟，阳清为天，阴浊为地，盘古在其中，一日九变。”“混沌”与“葫芦”是对音关系，“混沌”犹言“糊涂”，“糊涂”在俗言俚语中转为“葫芦”[3]。“葫芦”即是“盘古（瓠）”，“盘瓠”、“伏羲”同声之转，故“盘古”又是“伏羲”。对“混沌——葫芦——盘瓠——盘古——伏羲”转化演变的路径，闻一多论列甚详，此不赘。且楚诗人屈原《九歌》中有“东皇太一”，闻一多释为伏羲，足可证伏羲乃从原始神话中的创世神和原始哲学观念的宇宙本原、起源观念而来。
　　伏羲的原型本是宇宙本原和起始的意象和观念。随着文明的演进，人们对历史思考和探究越来越深入，这种思考和探究具体说就是对文明事实的一种根源性的说明。对世界起源的探究开始只是一种构想，它首先以神话的形式存在。神话思维是人类思维发展的一个必经的初期阶段，它随着人类思维的发展而消失在哲学和历史之中。人们先是追询宇宙是如何起源的，接着想象一个创世之神，再把这个创世之神想象为自己的祖先。伏羲形象的产生即是这样一个将神话传说哲学化、观念化，又将这一传说和观念历史化的过程。
　　三、从伏羲到《易》卦
　　《易·系辞上》说：“是故易有太极，是生两仪，两仪生四象，四象生八卦。”这段话可看作《周易》的理论纲领，也是《周易》所描述的宇宙生成模式。
　　与《太一生水》和《老子》一样，《周易》认为宇宙生成于“太极”，“太极”即是“太一”。孔颖达疏：“太极谓天地未分之前，元气混而为一，即是太初、太一也。故《老子》云‘道生一’。即此太极是也。又谓混元既分，即有天地。故曰‘太极生两仪’，即《老子》云‘一生二也’。”高亨则更明确地将“太极”与“一”、“太一”联系起来：“太极者，宇宙之本体也。宇宙之本体，《老子》名之曰‘一’，《吕氏春秋·大乐篇》名之曰‘太一’，《系辞》名之曰‘太极’。”“两仪，天地也。”“四象，四时也。四时各有其象，故谓之四象。”[4]
　　“太极”与“道”、“太一”具有同样的原初世界宇宙源头的意味。《论衡·谈天》：“说易者曰：‘元气未分，浑沌为一。”《说文》中释“一”时说：“惟初太极，道立于一。造分天地，化成万物。”《列子·天瑞》：“夫有形者生于无形，则天地安从生？故曰：有太易，有太初，有太始，有太素。太易者，未见气也；太初者，气之始也；太始者，形之始也；太素者，质之始也。气形质具而未相离，故曰浑沦。浑沦者，言万物相浑沦而未相离也。视之不见，听之不闻，循之不得，故曰易也。”以未见气时为太易，气初为太初，形之始为太始，质之始为太素，气形质浑然一体而未分离的状态称之为混沌。混沌之物即元气，元气未分的状态即太极。《淮南子·天文训》：“宇宙生元气。”而在《楚帛书甲篇》所记载的创世神话中，伏羲即是生于混沌之中。并且从音训中我们已看出，混沌即是葫芦，“羲”即“气”也，伏羲即是元气。民间传说遗存中也说，伏羲乃从葫芦中所生。
　　《淮南子·精神训》所描述的宇宙创生过程与《楚帛书甲篇》颇为相似：“古未有天地之时，惟像无形，窈窈冥冥，芒芠漠闵，蒙鸿洞，莫知其门。有二神混生，经天营地，孔乎莫知其所终极，滔乎莫知其所止息。于是乃别为阴阳，离为八极，刚柔相成，万物乃形。”对照《楚帛书甲篇》，“二神”当指伏羲、女娲。“太极生两仪”，两仪即是阴阳，伏羲、女娲就是阴阳两仪的代表。从哲学角度上说，是阴阳两仪；从神话角度上说，是伏羲、女娲二神。在汉墓壁画、画像砖石中，伏羲手捧太阳或日规，代表阳；女娲手捧月亮或月矩，代表阴。伏羲、女娲结婚生育四子，才育有万物，这是阴阳化育万物的开始。
　　“两仪生四象”，关于“四象”，有金木水火说，亦有东西南北说，但从创世神话角度看，应指春夏秋冬四时。《礼记·礼运篇》云：“夫礼，必本于大一，分为天地，转为阴阳，变而为四时。”太极生两仪，一阴一阳，用符号表示为“—”、“ ”，各在其上下加一阴一阳即生为四象，即太阴、少阳，少阴、太阳。少阳表示春天，阳气逐渐增长；少阴表示秋天，阴气逐日增长；太阴表示冬天，阴气至冬至至极；太阳表示夏天，阳气至夏至至极。用阴阳交互变换，喻季节的变化和循环。
　　“四象生八卦”，乾、坤、震、巽、坎、离、艮、兑八卦，分别象征天、地、雷、风、水、火、山、泽八种自然物或自然力。《楚帛书甲篇》说，四神以阴阳参化法则开辟天地，造出天盖，使它运转，于是星辰升落有序，山陵通畅，并使山陵与江海之间阴阳通气。从此九州太平，山陵安靖。《易·说卦》云：“天地定位，山泽通气，雷风相薄，水火不相射”，八种自然力量协调和谐地发生作用，于是阴阳消长，万物生息。 对照《楚帛书甲篇》和《易·系辞》所描述的宇宙生成过程，我们看到：
　　伏羲（太一）——伏羲、女娲（阴阳二神）——四子（四时）——万物
　　太极——两仪——四象——八卦
　　在这里，“太极”脱胎于“伏羲”，“两仪”脱胎于“伏羲”与“女娲”二神，“四象”脱胎于伏羲与女娲所生“四神”，即“四时”。《系辞》对伏羲创世神话所描述的宇宙生成模式做了更为抽象的概括，两者的对照具体地展示了从神话到哲学的演进过程。
　　四、结论
　　神话是哲学的母亲。西方哲学家说，任何神话中的诸神都不过是客观的或实在地直观到的哲学理论。人类早期的思维形式总是形象化的，感性的。维柯《新科学》中运用历史比较的方法在世界各民族从野蛮到文明的进程中发现了原始神话的价值，认为神话思维方式是人类思维发展的一个必经的初期阶段。并认为这种“诗的形而上学”、“诗的智慧”是人类通过感觉和想象能力所达到的认知水平，它虽然同哲学、科学的抽象理智水平有别，却又是它们的基础和来源。
　　由于中国传统思维方式的直观性、整体性和语言文字的象形性特征，中国早期哲学在很大程度上表现出神话思维的特征。中国早期哲学的基本范畴和概念，如“道”、“太极”、“阴阳”、“五行”、“易”等等，无一不是从神话思维的具体形象中抽象出来的。
　　通过对伏羲创世神话的考察，我们看到，作为历史人物的伏羲，其实并不存在，他首先是人们想象的产物，源于人们对宇宙起源的追索和想象。在神话中，伏羲是一个开辟混沌，化生万物的创世神的形象；进入哲学领域，他又被概括抽象成为宇宙本源和基始的概念，他导源于“元气”、“太一”，在《易》中，成为“太极”。创世神话在《易》中被概括为“易有太极，是生两仪，两仪生四象，四象生八卦”的宇宙生成模式。
　　“伏羲画卦”传说被现代易学研究者视为妄说，不为采信。然而，通过对其进行神话学考察，我们可以从伏羲创世神话中找到原始哲学的神话原型，并具体地看到从伏羲创世神话到易卦的演进轨迹。在中国早期哲学产生的过程中，《易》处于神话思维向理论思维、原始思维向哲学抽象思维的过渡阶段，《易》关于“太极”、“阴阳”、“四象”、“八卦”的观念和对宇宙生成的概括认识是从神话思维的具体表象中抽象出来的，是把神话中的宇宙观抽象化、逻辑化的结果

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saturday 刘岩

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