Shu culture rose from the late Neolithic Age 4,500 years ago to the Eastern Zhou Dynasty 2,500 years ago. Due to the rise of Ba culture, it gradually merged into Bashu culture and expanded into Bashu culture. During the Qin and Han Dynasties, Bashu culture gradually merged into China culture.
As early as 4,500 years ago, the late Neolithic culture-"Baodun Culture", as the source of Shu culture, had been produced in Chengdu Plain. Baodun culture is an archaeological culture in the gestation period of civilization. Baodun site is not only a typical example of the earliest ancient city site in Chengdu Plain during this period, but also a historical witness that Sichuan is about to cross the threshold of civilization.
The world-famous Sanxingdui ancient city site in Guanghan is the largest site of Shu culture at present. The excavation of Sanxingdui site shows that "this kind of cultural remains, represented by small flat-bottomed pots, high-handled beans, bird's head spoons, etc., is a self-contained new culture in the western Sichuan plain." This proves that as early as the Western Zhou Dynasty, there was a local culture with strong local characteristics-Shu culture, which was different from the Central Plains culture.
Ancient Shu culture is a regional culture with extensive influence. It consists of a "center" and four "plates", that is, taking Sanxingdui culture (including the Twelve Bridges) as the center, it consists of Chengdu Plain, Hanzhong Basin, Qinling Area and the upper reaches of Wojiang River. It meets with Erlitouxia culture in Jianghan, Shang culture in southern Shaanxi and Zhou Wenhua culture in Weibin.
Ancient Shu ancestors created dazzling ancient Shu civilization, and Sanxingdui culture was the representative of its heyday. Dujiangyan, a water conservancy project built more than 2000 years ago, still plays a great role in irrigating Chengdu Plain, and it is the only miracle in the history of water conservancy projects in the world. Colorful Shu embroidery brocade, Sichuan cuisine with "one dish, ten thousand kinds of dishes" and quiet and leisurely tea culture are all concrete manifestations of ancient Shu culture, and some of them are regarded as symbols of Chinese culture.
[Origin of Shu Culture]
Shu culture rose from the late Neolithic Age 4,500 years ago to the Eastern Zhou Dynasty 2,500 years ago. Due to the rise of Ba culture, it gradually merged into Bashu culture and expanded into Bashu culture. During the Qin and Han Dynasties, Bashu culture gradually merged into China culture.
As early as 4,500 years ago, the late Neolithic culture-"Baodun Culture", as the source of Shu culture, had been produced in Chengdu Plain. Baodun culture is an archaeological culture in the gestation period of civilization. Baodun site is not only a typical example of the earliest ancient city site in Chengdu Plain during this period, but also a historical witness that Sichuan is about to cross the threshold of civilization.
The world-famous Sanxingdui ancient city site in Guanghan is the largest site of Shu culture at present. The excavation of Sanxingdui site shows that "this kind of cultural remains, represented by small flat-bottomed pots, high-handled beans, bird's head spoons, etc., is a self-contained new culture in the western Sichuan plain." This proves that as early as the Western Zhou Dynasty, there was a local culture with strong local characteristics-Shu culture, which was different from the Central Plains culture.
Ancient Shu culture is a regional culture with extensive influence. It consists of a "center" and four "plates", that is, taking Sanxingdui culture (including the Twelve Bridges) as the center, it consists of Chengdu Plain, Hanzhong Basin, Qinling Area and the upper reaches of Wojiang River. It meets with Erlitouxia culture in Jianghan, Shang culture in southern Shaanxi and Zhou Wenhua culture in Weibin.
Ancient Shu ancestors created dazzling ancient Shu civilization, and Sanxingdui culture was the representative of its heyday. Dujiangyan, a water conservancy project built more than 2000 years ago, still plays a great role in irrigating Chengdu Plain, and it is the only miracle in the history of water conservancy projects in the world. Colorful Shu embroidery brocade, Sichuan cuisine with "one dish, ten thousand kinds of dishes" and quiet and leisurely tea culture are all concrete manifestations of ancient Shu culture, and some of them are regarded as symbols of Chinese culture.
The stars hint at Shu culture.
Xie Fang, Zhang Tie-Lin, Jiang Kun ... A group of stars who are common on the screen appeared in the "Symposium on Painting and Calligraphy Exhibition of Film and Television Drama Artists" yesterday (29th). However, both Jiang Kun, who was laughing and laughing, and Xie Fang, who was elegant and outstanding, broke away from their traditional films and turned to the art of calligraphy and painting.
The topic begins with Zhang Tie-Lin's essay diary "Chengdu Teahouse". As a professional calligrapher, he first affirmed that film and television people set foot in the field of painting and calligraphy: "Performing arts make stars, and the' star effect' can contribute to the inheritance of painting and calligraphy ..." Wang Yuechuan, a professor in Peking University, also believes that painting and calligraphy and film and television belong to the art category and can penetrate each other.
Zhang Tie-Lin believes that the standard for testing the level of artistic works is the market, and the "referee" is the audience. Chengdu Teahouse is the diary of Zhang Tie-Lin when he was filming in Chengdu in 1980s. The habit of keeping a diary has been with him for more than 30 years. The difference is that during this period, he changed his pen into a brush. Not only won the recognition of the market, but also won the praise of the audience. Chengdu Teahouse brought the participants' topic to the cultural connotation of Chengdu. Experts from Beijing agreed that Chengdu, a city with profound cultural accumulation in Sichuan, should not only have a sense of inheritance, but also need to increase its connotation today. Chengdu is full of culture, stories, Sanxingdui and Jinsha ruins. We should use these cultural wealth to create modern Chengdu culture, and we should embrace all rivers. By inviting in and out, Chengdu will introduce more cultural awareness and artistic achievements, inject new passion and reflect the times. Professor Wang Yuechuan, full of love for his hometown, put forward pertinent opinions on the development of ecological culture and humanistic spirit.
The Relationship between Dujiangyan and Shu Culture
Dujiangyan was founded more than 2200 years ago, which is a combination of important water conservancy projects and precious cultural relics. Dujiangyan was established when Shu culture continued to develop. Water conservancy science, religious consciousness, myths and legends in Shu culture are all reflected in Dujiangyan. Through the study of Dujiangyan, we can further understand the connotation of Shu culture.
First, Li Bing's help to Shu God when building a weir.
According to documentary records and archaeological excavations, when Li Bing led Shu people to establish Dujiangyan, he used the religious consciousness and myths and legends in Shu culture to call, organize and encourage Shu people to guide water conservancy construction. The guiding ideology of Dujiangyan project layout and a series of water stone gods are one of its contents. Let's first look at how Li Bing used Shu God when Dujiangyan was founded.
"Biography of the King of Shu" said: "Li Bing regards Qin Wei as the guardian of Shu, and calls Wenshan the gate of posthumous title. The dead of the cloud smell it, and ghosts and gods see it. " (1) "The Records of Huayang National Records" has a detailed and complete account of this matter, saying that "ice can know astronomical geography, Wenshan is famous for its Tian Pengmen, even Mianxian, and two mountains are like valves, so it is called Tian Peng Valve. It seems that when I saw God, I worshipped three places from the water and offered three sacrifices. " Han Xing, several envoys offered sacrifices to him. "Before Dujiangyan was built, when Li Bing surveyed the weir site, he first declared that he" seemed to see a god ",and then set up three temples on the riverside to solemnly worship the related gods believed by Shu people. Tian Peng is an ancient Shu dialect, originally named after one or several tribes of the ancient Shu people, and then gradually appeared in their residence. Today, guanxian, Pengxian, Wenshan and Songpan all have places called "Tian Peng". Wenshan, also known as Shushan and Dushan. Including the entire Minshan Mountains, Lushan Mountain (also called Lei Yu after the Tang Dynasty) near Dujiangyan Canal Head is also within its scope. Today, guanxian and Pengxian (2) are in the western region, near the head of Dujiangyan Canal. Some people doubt that Li Bing set up a sacrificial ceremony on the riverside, and put it in the category of myth. Although it was mysterious, it was a fact at that time and it did happen. Historical records. After the publication of the book "Feng Chan" in Qin Dynasty, the officials in charge of sacrifices were ordered to arrange the famous mountains, rivers, ghosts and gods enshrined in various places in order and play them in the court, and uniformly stipulate the level and ceremony of sacrifices. At that time, among the 46 counties in the country, only 18 were approved by the court, and Shu County accounted for two: "My mountain, Wenshan in the middle of Shu; River water, temple Shu. "
The ancient Shu culture belongs to the cultural category of "Southwest Yi". A large number of archaeological and ethnic data prove that the sacrifices in the early southwest Yi culture were all wild sacrifices (that is, in the wild jungle, beside graves and caves instead of temples). Wang Mingkai IX of Shu absorbed the factors of Qin culture and set up five temples (3) of "green, red, black, yellow and white emperors", which were limited to ancestral temples and were second only to mountains, rivers and ghosts. The two temples, Dushan and Heshui, in The Closed Sutra were obviously set up by Qin people. And judging from their successful recognition by the central government, they should have been established by Gzero. According to documents, only Li Bing established three temples during the reign of Shu in Qin Dynasty, and it can be further considered that both Dushan and Jiang Shui temples were established by Li Bing. It is impossible to determine the specific location of desecrating the mountain temple and offering sacrifices to Wenshan Mountain God. Judging from the situation at that time, we think Dujiangyan is not far from the head of the canal, that is, on Lushan Mountain. Jiang Shui Temple, also known as Jiangdu Temple, was located in Nanbali, Chengdu County, according to the records of the expansion of the land in Tang Dynasty, and the specific location was on the bank of Jianjiang at that time. The temple still exists in the Ming and Qing dynasties, and it has been recorded in many dynasties. It is said that it was destroyed in the early years of the Republic of China. Jiang Shen of Bing was originally a man. It can be seen from the legend that he brought two women in cloth, and Bing wanted to marry a woman with him. But in the end, Jiang Shen became a female body, which is also very interesting. Li's other sacrifice, we think, is the sacrifice, Du Yu and Shu Wang. In the Erwang Temple in guanxian, guanxian Hometown Records said: There is an ancient Wang Di Temple on the West Road, and its former site is Chongde Temple (now Erwang Temple); During the reign of Qi Jianwu (494-497), Liu, the secretariat of Yizhou, moved to the temple, and the original temple was changed and passed down from generation to generation. "Records after the Tomb of Yang Min's Ancient Emperor" also said: Shu people worshipped Li Bing and examined his remains. Libing Temple, Duyu Site, Qi Jianwu Irrigation.
Li Bing offered sacrifices to three shrines, with the highest sacrifice level in the Central Plains, and three sacrifices (sheep, pigs and cows). After the ceremony and dance, the wizard threw his artifact Wabi into the maelstrom. Shuowen: "Spirits, witches and jade serve God. At the beginning of "Curse Chu Wen" in Qin Dynasty, it was said that "Qin Wangsi dared to reveal jade with auspicious jade ..." Ancient Shu people also used jade as an artifact. In Guanghan, one of the centers of early Shu culture, a large number of jade articles were unearthed, and we think there are many artifacts used by wizards.
At the same time, Li Bing set up three shrines to worship the Shu God, which obviously had great scale, boldness of vision and influence. What is the purpose and function of these practices by Li Bing? First of all, this is to show the Shu people that he has a special relationship with God. He can "seem to see" them, and even want to show that he is a god (this is more clearly shown in the legend of his struggle with the water god). Its display function is to show his respect for the mountain gods, water gods and ancestors of Shu people and strive for their support. Its hidden function is to show the harmony between Shu people and Shu God, which shows that the weir has been recognized by Shu God. Now that he has reached a compromise with Shu God, ordinary people should support him even more. This ceremony also changed Li Bing's identity in the eyes of Shu people. Originally, Li Bing was a foreign ruler, a representative of Qin's domination of Shu and Qin's domination of Shu culture. But by offering sacrifices to Shu God, Shu people realized that Li Bing had accepted Shu culture, and changed from a ruler who was not sent by Qin to a leader they recognized. Looking at it alone, it seems a small problem whether to set up so many Shu temples, hold such grand ceremonies and adopt such a high level; However, if we put it into the whole ruling cause of the Qin Dynasty in Bashu and the cause of weir building, we will find that it has the integrated function of coordinating the relationship between science and indigenous religion, ruling Shu people with divine power, summoning people with divine power and organizing everyone to build weirs. Li Bing's witchcraft practice conforms to the traditional witchcraft and primitive religion of Shu people and is easily accepted by Shu people.
Second, the weir builders in Dujiangyan
To understand the cultural connotation of Dujiangyan, we must first understand the weir builders in Dujiangyan.
Shu was originally a "southwest barbarian", so Zhang Yi said that Shu was a "leader of the Rong mansion". During the Qin and Western Han Dynasties, the residents of Sichuan, including Chengdu Plain, were mainly indigenous peoples, with only a few immigrants. In recent years, a large number of boat coffins found in Chengdu, Pixian, Xindu, Shuangliu, Guanghan, Mianyang and other places, as well as a large number of typical Shu cultural remains, as well as Gan Lan architecture found in the 12th Bridge in Chengdu, have proved the widespread distribution of Shu aborigines. On the sarcophagus of the Eastern Han Dynasty found in guanxian, there are dry-column-style house decorations, indicating that there were still a large number of indigenous people living in guanxian during the Eastern Han Dynasty. Wang Bao of the Western Han Dynasty once said in Tan Yue that he bought a bearded slave named "Bianle" at Songbian. Judging from his love for "Yidou", Duolun and his name, he is obviously an indigenous. 1966, a remnant tablet of the Eastern Han Dynasty was found in Xipu, Pixian County. The inscription shows that local residents generally hold slaves. Judging from the names of those slaves, they are mainly local aborigines. We have pointed out that the residents of Suibian Road, including Jinguan County and the western part of Pengxian County, are mainly border people. (3) During the Han and Jin Dynasties, the Miao people took Yang as their surname. Zhang Hua's "Jin Bo Wu Zhi" Volume III said: "There are things on the south mountain of Shushan, such as macaques, which are seven feet long and can walk easily. It's called a monkey dog, also called a fake. Women have good people, so they need to steal ... if they have children, they need to send them back to their homes. Giving birth to a child is like a person ... and dragons, like a person, all take Yang as their surname. Therefore, today, the western and central boundaries of Sichuan are mostly called Yang, aiming at forging Chinese descendants, and sometimes there are people with claws. " During the Han and Jin dynasties, the Miao people living in the plains were generally sinicized and still took Yang as their surname. The Records of Huayang Country and Shu contains the most popular surnames Yang in Chengdu, Qi in Wuyang (now Pengshan), Yang in Shifang, Yang in Pixian and Yang Hou, a celebrity in Xindu, among which there are many blood sources. According to relevant information, Yang, a Miao nationality, has the closest relationship with Dujiangyan.
Du Guangting, a famous scholar of the Five Dynasties, said in "Water Control": "Yang Mo has magical power, breaking the river water and taking the dragon as the head." With the help of Li Shou, Jiang gained fame, and Jia did achieve great success. According to the records of Huayang National Records and Shu Records, Li Bing once "crossed the weir and irrigated Jiangxi". "Water classics. Zhu also has the same record. The weir is Dujiangyan, and "crossing the river" mentioned in "Water Control Record" means "breaking water and stopping fields by the Dazao River". The Dazao River is the Minjiang River, and Jiangxi is the west bank of the Minjiang River. According to these records, Yang Mo helped Li Bing to control the water, and undertook two tasks: "crossing the sheep and grinding the river" and "swearing with the dragon". Finally, in order to commemorate Yang Mo's achievements, he named the artificial canal he was responsible for leading the excavation as Yang Mo River. This Yang Mo is an indigenous wizard and one of the leaders of the local ethnic groups. Judging from his "vow to the dragon", it is also "make an appointment with the river god: the water is inexhaustible and incomparable" in Huayang Guozhi Shuzhi. Judging from his surname, he should be a monk. It is also said that Li Bing's son Erlang is also called Yang Erlang. A Wu Cheng'en of Ming Dynasty in The Journey to the West said that Erlang Temple was born in the story of "The Jade Emperor's sister thought of the lower bound and cooperated with Yang Jun". According to the Romance of Gods, Yang Erlang is called Yang Poke. Jiro's statue is characterized by three eyes, with a vertical eye in the middle, which is consistent with the record of a vertical-eyed man making a sarcophagus and stone pier in western Sichuan in Huayang Guozhi Shuzhi, and Jiro's "holding an eagle to lead a dog" and "stepping on a crossbow to open a bow" are also consistent with Ajian's hunter image. According to legend, Jiro has many deeds, the most important of which is to help Li Bing control water. Of course, Jiro is just a deified figure who stripped off the cloak of myth, but it reflects the historical fact that the local indigenous Miao people helped Li Bing to control water. During Li Bing's flood control, among the "Seven Bridges" built on the "Second River" in Chengdu, there was "Yi Bridge", also known as "Yi Bridge", which also showed that Li Bing mobilized a large number of indigenous people to participate in water control activities.
Third, the cultural factors of Shu in Dujiangyan Project
It can only be identified by comparison. It is easy to see the difference between Dujiangyan project and water conservancy project in ancient Central Plains. In the ancient Central Plains, the legendary gun age, water control was mainly based on "blocking"; In the Dayu period, it developed into dredging, and implemented the principle of "high and low, dredging the river to lead to stagnation and abundant water", that is, depending on the terrain, the main purpose of dredging the river water is flood control. This has always been regarded as an advanced water control method in the Central Plains in the pre-Qin period. Some politicians at that time, such as Zhao Gong of Zhou Liwang and Zi Chan of Zheng in the Spring and Autumn Period, also advocated this method to rule the people. Compared with the Central Plains water conservancy project, Dujiangyan project is unique in conception design, overall layout and some specific technologies, and has local cultural characteristics.
An important feature of ancient Shu culture is to attach importance to the theory of Yin-Yang and Five Elements and advocate the harmonious unity between man and nature. Yang Xiong, a master of Shu studies in Han Dynasty, said in the fourth volume of Taixuan: "It is human nature for husbands to obey the rules. What follows is: big is strong; Small is weak, straight is muddy; Songs are also physical, and they are not all scattered. " Everything, big or small, must follow its nature, which is the basic feature of Dujiangyan project. Yang Xiong also concluded: "If the water is smooth, there will be no defeat, and no defeat will last for a long time. Some important projects in Dujiangyan, such as Yu Zui, Baizhang Dike and Sha Fei Weir, are characterized by "following" the water potential, rather than going against it or blocking it. The dominant idea of Dujiangyan is to turn water disasters into water conservancy, and its main layout features are no dam to divert water, silting up the river, adapting to local conditions and self-flow irrigation; Its main function is comprehensive utilization, integrating flood control, irrigation, water transportation and social water use, and its biggest feature is that it has lasted for more than 2200 years.
Some important technologies in Dujiangyan project, such as cage stone technology, fish mouth technology, cliff cutting technology, Dujiangyan canal head and some cable bridge construction technologies on related canals, are different from the traditional technologies in the Central Plains and have obvious local style and national cultural characteristics. Some ancient names of Dujiangyan, such as Yan Kui, Kuizhan, etc. There are also local cultural characteristics. In Dujiangyan Project, Yu Zui, Sha Fei Weir, Lijiang River and Erjiang River are interdependent, restrictive and indispensable. This interdependent relationship can be said to be a wonderful application of the theory that everything in Yin-Yang and Five Elements is incompatible, each with its own Yin-Yang and each with its own generation. In Dujiangyan project, paying attention to discharging sand with water and drowning stones is the concrete embodiment of the theory of "combining rigidity with softness and changing". The function of "dividing water in four seasons and six seasons" in Dujiangyan project, that is, 40% of water is swallowed by Neijiang in flood season and 60% in dry season, is exactly the image explanation of "sometimes damaging rigidity and benefiting softness, making profits and losses and keeping pace with the times" in Yin and Yang studies.
In Dujiangyan project, a series of water stone gods are particularly eye-catching. At the head of the canal, Li Bing designed three strange water gauges-stone men. "Huayang Guozhi Shuzhi" said: "Li Bing became a three-stone man in the white sand under the jade girl's room, standing in Sanshui, and made an appointment with Shenjiang: the water was insufficient and his shoulders were full." These three stone men, separated at the intersection of Minjiang River, Neijiang River and Waijiang River, are actually three water gauges, which can observe and measure the water level. At that time, the ancient weights and measures in China had already matured. If you carve the ruler directly on the edge of the cliff, it will be simple, convenient and easy to observe. Why did Li Bing change from simple to complex and replace it with a stone man?
Li Bing also buried a stone horse at the head of the canal as the standard of "deep beach scouring". Song Dynasty Zhi said, "The old stone horse crossing the river mouth was buried under the beach. Anyone who wears Tao Tao must take a stone record from the pile and call it water. " The beach is 20 feet deep and the water is seven or eight feet deep. "This is also the principle of stone horse for water.
When building Dujiangyan water conservancy project, Li Bing also ordered five stone rhinos to be carved. Putting Chengdu and guanxian in the middle of the river, Shu Wang Shu said: "The river is harmful. Shu Shou libing has five stone rhinos, two in the government, one under the city bridge and two in the water, so as to hate (suppress) the water essence, so it is called rhinoceros." The book "Huayang Kingdom and Shu Zhi" is slightly different, saying that Li Bing: "The five stone rhinoceroses are hydrophobic outside, and the south stone rhinoceros creek in Tongjiang is named rhinoceros. Later, it was moved to the middle of rhinoceros: one was at the gate of Chengqiao, and now the so-called Shi Niu Gate is also there, and the other was in the abyss. " These five stone rhinos are actually water rules and water stone gods. These water control rules put forward by Li Bing confuse science with myths in ancient Shu, and promote the same continuation and synchronous development of water conservancy science and religious myths in ancient Shu.
Stone man, stone horse and stone rhinoceros are all made of stone, and the ancient Shu people have primitive religious consciousness of worshipping big stones and cliff carvings. "Huayang National Records and Records" said: "Can Cong's death, the sarcophagus and stone vase: the kings of Ming Kai were buried, and a big stone was erected, which was three feet long and weighed a thousand hooks, which was the epitaph. This stalagmite is also; When Shu Fei died, Shu Wang sent five tombs covering several acres with a stone mirror on them. " All these reflected the stone worship consciousness of Shu people at that time to some extent. According to relevant information, Shu people especially think that the stone god can defeat the water god. When people saw that the raging flood swept away houses, destroyed villages, blew down trees and leveled fields, but they were unable to blow up towering boulders and cliffs, they believed that the stone god could defeat the river god and contain the water monster. At the time of Li Bing, bronze smelting and casting were still very developed, iron smelting had developed to a considerable level, and the pottery industry also experienced ups and downs: there were many conditions for making statues with these raw materials. For example, Qin Shihuang's terracotta warriors and horses pit created a large number of terracotta warriors and horses. Li Bing abandoned copper, iron and pottery and used stone statues, which mainly adapted to the stone worship consciousness of Shu people and also contained deeper significance in the theory of Yin-Yang and Five Elements.
Stone men, as early as the late Neolithic period before Li Bing, had already appeared in Shu. In recent years, a stone servant was found in the Neolithic site of Fangchi Street in Chengdu. After Li Bing, the practice of using stone men to save water still exists. In recent years, a stone statue of Li Bing carved in the Eastern Han Dynasty was found behind the fish mouth in Dujiangyan, guanxian. The inscription said that at that time, a group of people built the "Three Stones Man" with the purpose of "Yong Baoshan (town) water". Soon after, another stone servant was found there. It can be seen that Li Bing's figure carving is not a new creation, but an inheritance and adaptation to Shu culture.
Stone rhinoceros and stone horse are also sacred objects with local characteristics. In Custom Tong, Li Bing once turned into a pale cow and fought against the water god. In the place where they fought, the world called it "the battle rhinoceros platform", and it has not changed so far. Bing's pale face is not credible, but it can be seen that in the consciousness of ancient Shu people, the rhinoceros god can defeat the water god. There are many myths about rhinoceros in Shu, such as "Sinking Rhino River" and "Sinking Rhino Bridge" in Guanghan, "Fu Rhino Beach" in Yibin (Rongzhou), "Biography of King Shu" and "Biography of King Qin", etc., saying: "The king of Qin wanted to attack Shu, but he carved five. When the Shu people bought gold, they saw it and thought that the cow could shit gold, and there were pawns under it. " During the Warring States period, the culture of Shu has developed to a high level. Shu has diplomatic contacts with Chu, Central Plains countries and Qin, and it will never be so foolish. This is really a mockery of Shu people by Qin historians. Stripping off the cloak of myth, we can see the fact that Shu people are regarded as gods or totems. Qin and Shu intersect. Before the official attack on Shu, King Hui of Qin asked Shu Shenshi Niu to send a special gift to Shu, hoping to catch Shu off guard. It is precisely because Shi Niu is the God of Shu that the King of Shu sent a large number of troops to meet them. The ancient Miao people in Aba and the modern Jiarong Tibetan people hold an extremely grand "Cow King Meeting" on July 30th every year. When the ancient Shu people offered sacrifices to Li Bing every year, they also held bullfighting performances. These also prove that the god cow is the god of Shu. Shu culture believes that the cow (rhinoceros) god can subdue the river god, reflecting its early influence by animal husbandry culture, which is also the cultural difference between it and other southern regions where dragons are the most revered water gods. Li Bing made water in Shi Niu and Shima Town, which also proved that he had used wizards and indigenous water conservancy engineers who were not responsible for water conservancy design.
What needs special discussion is the image of Shi Niu and stone rhinoceros. We believe that "Five Shi Niu" and "Five Stone Rhinoceros" both reflect a strong sense of yin and yang and five elements. "Hua Yang Guo Zhi Shu Zhi" said: "In the ninth century, there was a wise monarch and a ancestral hall. Wine is used for condemnation, and music is used for worship. People are still red, and the emperor is king. ..... no overflow, but mainly five colors, so its temple is named Qing, Red, Black, Yellow and Baidi. " Ming Kai's worship of five things is basically shown in this passage. This is also reflected in archaeological data. Among the tombs of King Shu discovered in Xindu in recent years, there are 188 artifacts unearthed in Yaokeng. The combination number of various utensils is mainly five or its multiple (such as ten or fifteen), and a few are two. See other combination drawings below. This is obviously closely related to the popular Yin-Yang and Five Elements in Shu at that time. In recent years, among the pottery unearthed from the sarcophagus tomb of the Han Dynasty in Aba, the word "Chi Di" was found engraved on a pottery cover, which is a reflection of the ancient Shu people's "red". According to the popular theory of five elements in the seven countries at that time, five colors, five sides, five virtues and degrees can be matched with each other, as shown in the table.
The relationship between the five elements is mutually restrictive. From this table, it is easy to see the meaning of Li Bing's "five stone rhinoceros" and five elements to kill monsters. Stone rhinoceros belongs to "earth" in matter; Fifth, the degree is also "earth"; Judging from the relationship between the five elements, soil is better than water, and stone gods have the meaning of saving water. This is also the meaning of "three stone people" and "two stone horses" as the water management in Dujiangyan project. At the same time, it is consistent with the primitive religious consciousness of Shu people who worship stones. Judging from the five elements, the native land is rich in gold, and the indigenous people in Sichuan regard themselves as their native land, and Qin belongs to gold, suggesting that Sichuan should belong to Qin. The "Five Shi Niu" presented by King Hui of Qin to King Shu contains this political implication. Li Bing's creation of Five Stone Rhinoceroses implies the rationality of Qin's rule over Shu.
But at that time, the theory of Yin-Yang and Five Elements in Shu was not as standardized as the above table. The Yin-Yang and Five Elements pursued by Du Yu Dynasty (later local forces) and Ming Kai Dynasty showed a little individuality and mutual penetration. Ming Kai's "upper qi" should be measured at seven, but at five. The reason is that there are many wizards and their theories in Du Yu's ruling class. The people ruled by Ming Kai have been ruled by Du Yu for a long time, so it is reasonable to keep some sense of the past. In order to rule them, enlightened families inevitably have to make some flexible cultural adaptations. Scholars in Shu, represented by Du, think that they live in the world. This kind of consciousness, just like some people in the Central Plains think that they live in the world, is a reflection of the national self-centeredness, which is understandable. Mr. Lv Zifang made a systematic study of The Classic of Mountains and Seas, and thought that The Classic of Mountains and Seas was a work of Shu, and the "heaven" mentioned in The Classic of Mountains and Seas refers to the plain of western Sichuan. Mr. Meng also pointed out that the trilogy of Shan Hai Jing is completely different from the trilogy of Central Plains culture. It refers to Bashu and Jingchu areas, or just Bashu areas. Ming Kai, whose ancestral home is Chu, is called "Jing Ren Bieling" in Biography of King Shu. The theory of Yin-Yang and Five Elements they pursued in Shu showed traces of being influenced by their hometown culture. "Lu's Looking at beginning of autumn" says: "Zhu Tian is punished in the southwest." Gao Xiu's note: "Southwest China is also a fire season, which belongs to Shaoyang, so it is called Zhu Tian." Zhu is red, red, that is to say, he thinks he lives in the southwest of the world. This is generally consistent with the Chu people's self-proclaimed "Na Man".
Qin people also pursued the theory of Yin-Yang and Five Elements. The Book of Closing the Zen in Li Ji contains the dedication to the public, and has successively produced annals, broad annals, secret annals, Shang annals and Xia annals, offering sacrifices to Bai, Qing and Huang. Qin Shuide's theory rose late, sprouted after Qin Xiaogong and became Qin Shihuang. Qin once entered Ba county six times with his own theory of water virtue and five knives. During the Qin dynasty, it was stipulated that the long rafters should donate 2,160 yuan a year and 800 yuan when they were three years old. When people walk out of the house, they are 80 feet tall and have 30 feathers. Two thousand sixteen dollars is three hundred and thirty-six times of six, three hundred and thirty-six dollars is fifty-six times of six, one thousand eight hundred dollars is three hundred loans of six, and thirty dollars is five times of six. Unlike Ba County, Li Bing did not enforce the system of Qin people, but mainly respected the system of Shu people themselves. This is where he is better than ordinary local ladies. Li Bing pursues the ideology of Shu people, except that he thinks this ideology has some merits, mainly to appease Shu people and stabilize people's hearts. Qin and Shu were adjacent, and the rulers married many times. (3) Folk economic and cultural exchanges are extensive and influence each other, both of which are deeply influenced by Xirong's frontier culture. The primitive religious consciousness popular in Qin and Shu during the Warring States period was similar to each other, with Yin-Yang and Five Elements as its important content. Therefore, the religious concept of Shu people can be understood by Li Bing, and Li Bing's practice can also be accepted by Shu people.
Some Han immigrants also participated in the construction of Dujiangyan. Before Li Bing, there was only one recorded immigrant. "Huayang Guozhi Shuzhi" said: In the first year of Zhou Dynasty (before 3 14), because Rong Bo was still strong in Shu, he moved to Qin people. However, from the practice of migrating to the frontier in Chinese history, sporadic immigrants always exist. Some of them must have participated in the construction of Dujiangyan. However, from the overall layout and each link of Dujiangyan project, there is not much display of foreign cultural factors. It seems that immigrants did not participate in the overall layout design and major technical guidance, at least did not play a key role. The obvious foreign cultural factors in Dujiangyan project were mainly manifested in the use of some advanced tools at that time, such as a large number of ironware, carriages, ox carts, boats and so on. As we know, Qin was one of the first countries to adopt iron. Iron was used in the Spring and Autumn Period and was widely used in many fields of production and life during the Warring States Period. Ox carts and carriages were also invented in the Central Plains. In a large number of archaeological materials about the culture of "southwest yi", there is no shadow of carriages and ox carts at all. Ships in the Central Plains are generally made of boards; The original ship is a combination of two wooden boats, which is more common in Chu-Yue culture. "The' boat' in the southwest Yi cultural system is generally a canoe, which is found in the symbols of Bashu dialect, bronze ornaments, ancient Yi language and Naxi language. The canoe in Shuzhong is more famous. " "Huai Nan Zi Jiao Zhen Xun" said: "You can't float without water. Gao: "Shu boat, one boat and one board." . "The above-mentioned advanced production and transportation tools were mainly brought to Xishu by immigrants. It is the introduction of these advanced cultural factors that makes the proposal and construction of Dujiangyan project possible.
To sum up, we think that Dujiangyan Project is mainly composed of local Shu culture, although it has China cultural factors. There is no doubt that Dujiangyan is a brilliant crystallization of Chinese culture and an epoch-making masterpiece of Chinese civilization; If subdivided, it can be clearly pointed out that Dujiangyan is a rich fruit of Shu culture, which embodies the science and technology and simple religious consciousness of Shu culture.