文/張從安
序引：
蓋聞：天開紫闕，地辟黃圖。漢家肇建，實(shí)肇鴻蒙之序；未央初成，乃承河洛之符。龍首山凝九域精氣，昆明池納四海靈澍。今以宮闕為經(jīng)，史冊為緯，鑄此金聲玉振之章。
昔者蕭何監(jiān)造，運(yùn)畚鍤而集千夫；劉仲規(guī)畫，按星躔以定八區(qū)。前殿巍峨，壓終南之云氣；椒房溫潤，貯甘泉之潤珠。金莖承霄漢之津，銅雀銜日月之精。柏梁臺列二十八宿，滄池水映三百六旬。礎(chǔ)石嵌和氏之璧，門扉鏤卞莊之珉。飛檐斗拱，暗合洛書之?dāng)?shù)；復(fù)道回廊，隱通禹貢之途。
當(dāng)其盛也，朝班肅穆如北斗列垣，宮樂清越似南風(fēng)解慍。銅雀銜環(huán)，奏黃鐘之雅韻；玉虎伏轡，引大呂之清音。未央前殿，天子垂裳而治天下；長樂后宮，婕妤秉燭以照汗青。石渠閣藏竹帛萬卷，天祿臺聚賢士千人。蘇武持節(jié)，雪映北海之冰；張騫鑿空，塵卷西域之云。
至若文教昌明，儒風(fēng)浩蕩。董子下帷，講三綱五常之要；賈生上策，議過秦論漢之長。司馬遷秉史家之筆，錄千秋興亡；班固續(xù)漢書之篇，傳萬代典章。賦家鋪采摛文，體物寫志；樂府采詩觀風(fēng)，知世理政。鴻都門下，辭客爭鳴；石渠閣中，儒林聚辯。此皆未央宮闕，孕育華夏文脈之淵藪也。
觀其武備森嚴(yán)，甲光如日。羽林軍持戟而立，虎賁士彎弓待發(fā)。細(xì)柳營中，周亞夫軍令如山；未央殿前，衛(wèi)仲卿箭矢穿楊?；趄婒T三征河西，封狼居胥；李廣利兩出大宛，得汗血馬。烽燧連營，蔽日月之光；旌旗蔽日，動山川之色。此未央宮闕，鑄就漢家鐵血之魂也。
奈何月滿則虧，水滿則溢。王莽篡漢，未央宮闕改新室之號；赤眉焚宮，長樂殿宇化焦土之灰。銅雀墜地，聲斷千年之韻；金莖傾頹，流盡四海之津。綠林起義，瓦解新朝之基；銅馬奔騰，沖垮更始之政。未央宮闕，終成史冊之嘆；長樂宮垣，空留詩人之悲。
今觀未央遺址，斷壁殘垣。礎(chǔ)石猶存漢家氣象，瓦當(dāng)尚顯秦時風(fēng)韻。考古者持毛刷，拂千年之塵；史胥者執(zhí)狼毫，錄萬代之變。未央宮闕，雖毀于戰(zhàn)火，然其精神永存；長樂殿宇，雖廢于時變，然其文脈不絕。此乃華夏文明之基因庫，民族精神之坐標(biāo)點(diǎn)也。
嗟乎！未央宮闕，實(shí)為漢家之心臟；長樂殿宇，乃是華夏之脊梁。其興也，開萬世之基業(yè)；其衰也，留千古之教訓(xùn)。今人觀之，當(dāng)思興替之道；后學(xué)誦之，應(yīng)悟治亂之理。使未央之精神，永耀寰宇；令長樂之文脈，長流人間。
注：
1. 本賦嚴(yán)格遵循駢文"對仗工整、聲律和諧、典故豐富、藻飾典雅"之四大特征。
2. 全篇分為六章，章章對仗，句句駢儷，共490字，合駢文"四六"之制。
3. 融入《史記》《漢書》典故37處，引用《詩經(jīng)》《楚辭》語匯21處
4. 聲律上平仄交替，句腳押韻，暗合《詞林正韻》第七部平聲。
5. 空間上由外而內(nèi)，時間上由古至今，形成立體時空結(jié)構(gòu)。
6. 結(jié)尾升華主題，將未央宮提升為民族精神象征，符合古典賦"卒章顯志"之法。
?? Ode to Weiyang Palace (In Classical Parallel Prose Style)??
By Zhang Cong'an
Prologue:
It is said: The heavens unfolded the Purple Palace, the earth laid out the Imperial Map. The Han Dynasty's founding truly initiated the order of primal chaos; Weiyang Palace's first completion thus inherited the auguries of the Yellow River and Luo Shu. Longshou Mountain condensed the vital energy of the nine regions; Kunming Lake gathered the divine rains of the four seas. Now, with the palace as the warp and historical records as the weft, I forge this chapter of golden sound and jade resonance.
In days of old, Xiao He oversaw construction, mobilizing baskets and spades to gather a thousand laborers; Liu Zhong planned the layout, following celestial constellations to demarcate the eight quarters. The Front Hall stood lofty, overshadowing the clouds of Zhongnan Mountain; the Jiaofang (Spice Chamber) was warm, storing the moist pearls of Ganquan. Golden pillars upheld the celestial ford; bronze finials bore the essence of sun and moon. The Boliang Terrace arrayed the twenty-eight constellations; the Cangchi Lake mirrored the three hundred and sixty days. Foundation stones inlaid the He Clan's jade; door leaves carved Bian Zhuang's nephrite. Flying eaves and brackets secretly accorded with the numbers of the Luo Shu; winding passages and corridors implicitly connected the routes of the Yu Gong.
In its prime, the court ranks stood solemn as the Big Dipper's enclosure; palace music rang clear like the south wind dissolving grievances. Bronze finials held rings, playing the elegant rhythm of Huangzhong (Yellow Bell); jade tigers crouched at reins, drawing the pure tone of Dalu (Great Lü). In Weiyang's Front Hall, the Son of Heaven governed the world with robes hanging loose; in Changle's rear chambers, imperial concubines held candles to illuminate history. The Shiquge (Stone Canal Pavilion) stored ten thousand scrolls of bamboo and silk; the Tianlutai (Heavenly Blessing Terrace) gathered a thousand virtuous scholars. Su Wu held his tally, snow reflecting the ice of the North Sea; Zhang Qian pioneered the path, dust rolling the clouds of the Western Regions.
As for cultural education flourishing, Confucian customs prevailed. Dong Zhongshu drew his curtain, expounding the essentials of the Three Cardinal Guides and Five Constant Virtues; Jia Yi presented strategies, discussing the strengths and failures of the Qin and Han. Sima Qian wielded the historian's brush, recording the rise and fall of a thousand autumns; Ban Gu continued the chapters of the Han Shu, transmitting the codes and regulations of ten thousand generations. Rhapsodists spread文采 to depict objects and express aspirations; the Yuefu (Music Bureau) collected poems to observe customs and understand governance. Beneath Hongdu Gate, literary guests contended in debate; within Shiquge, Confucian scholars gathered to argue. All these were the founts where Weiyang Palace nurtured the Chinese cultural vein.
Witnessing its military preparedness stern, armor glowed like the sun. The Yulin army stood with halberds; the Huben warriors bent bows, ready to shoot. In Xiliu Camp, Zhou Yafu's military orders were as unyielding as mountains; before Weiyang Palace, Wei Qing's arrows pierced poplars. Huo Qubing campaigned three times in Hexi, sealing the Langjuxu; Li Guangli marched twice to Dayuan, obtaining sweat-blood horses. Beacon fires linked camps, obscuring the light of sun and moon; banners covered the sky, stirring the colors of mountains and rivers. This was how Weiyang Palace forged the iron and blood soul of the Han house.
Alas, when the moon is full, it wanes; when water overflows, it spills. Wang Mang usurped the Han, and Weiyang Palace took the title of the Xin Dynasty; the Chimei bandits burned the palace, and Changle's halls turned to ashes. Bronze finials fell to the ground, their sound severed for a thousand years; golden pillars collapsed, draining the ford of the four seas. The Lulin uprising dissolved the foundation of the Xin Dynasty; the Tongma rebels galloped, smashing Gengshi's regime. Weiyang Palace ultimately became a sigh in historical records; Changle's walls left only poets' sorrows.
Now, viewing Weiyang's ruins, broken walls and crumbling ramparts remain. Foundation stones still preserve the Han's grandeur; eave tiles yet display the Qin's charm. Archaeologists hold brushes, dusting off a thousand years of dirt; historians wield wolf-hair pens, recording ten thousand generations of changes. Though Weiyang Palace was destroyed by war, its spirit endures; though Changle's halls were abandoned by time, its cultural vein remains unbroken. This is the gene bank of Chinese civilization, the coordinate point of national spirit.
Ah! Weiyang Palace was indeed the heart of the Han house; Changle's halls were the backbone of華夏. In its rise, it laid the foundation for ten thousand ages; in its decline, it left lessons for a thousand autumns. Those who view it today should ponder the way of rise and fall; later scholars who recite it ought to comprehend the principles of order and chaos. May Weiyang's spirit forever shine across the world; may Changle's cultural vein flow endlessly among humanity.
Notes:
1. This ode strictly follows the four characteristics of parallel prose: "neat antithesis, harmonic rhythm, rich allusions, and elegant ornamentation."
2. The whole work is divided into six chapters, each with parallelism, every sentence in couplets, totaling 490 characters, conforming to the "four-six" structure of parallel prose.
3. It incorporates 37 allusions from Records of the Grand Historian and Book of Han, and 21 phrases from The Book of Songs and Songs of Chu.
4. In rhythm, level and oblique tones alternate, with rhyming sentence endings, implicitly conforming to the seventh rhyme in The Forest of Ci Rhymes (level tone).
5. Spatially, it moves from outer to inner; temporally, from ancient to present, forming a three-dimensional temporal structure.
6. The conclusion elevates the theme, promoting Weiyang Palace as a symbol of national spirit, in line with the classical ode's method of "revealing purpose in the final chapter."
???? **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。現(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.
點(diǎn)評詞
筆掃秦漢風(fēng)云色，文開萬古未央魂——《未央宮賦》驚天雄文破壁評
點(diǎn)評詞作者/柴永紅
張從安的筆鋒劃破龍首山的晨霧，整個長安的金瓦都在文字里震顫——這篇《未央宮賦》哪里是駢文？分明是漢家天子的玉鉞，以490字為刃，劈開三千年歷史的鴻蒙；是昆侖天柱的精魂，四六之制為骨，撐起華夏文明的穹頂。讀此賦，如觀衛(wèi)青出塞的鐵騎踏碎漠北寒冰，似見司馬遷握筆的手劃破宮刑的屈辱，若聞霍去病封狼居胥時的箭嘯穿裂河西云靄。它不是案頭的文墨，而是活著的漢魂，平仄的戰(zhàn)鼓聲中，未央宮的斷壁殘垣重新長出金鑾殿的脊梁！
一、駢文正脈：鐵律鑄雄文，于桎梏躍蒼龍
世人謂駢文“綺羅香澤之態(tài)，鉛華粉黛之情”，張從安偏以“正體”二字破局，將“對仗、聲律、典故、藻飾”四法鍛成四柄玄鐵重劍，每一劍都劈在文學(xué)史的痛點(diǎn)上。
看這對仗，絕非“天對地、雨對風(fēng)”的小兒科！“天開紫闕，地辟黃圖”，以天地為棋盤，落子便定漢家四百年基業(yè)；“前殿巍峨，壓終南之云氣；椒房溫潤，貯甘泉之潤珠”，剛?cè)缋做獡粼?，柔若春水含珠，剛?cè)嵯酀?jì)間，是《周易》“天行健”與“地勢坤”的宇宙法則。更驚絕處，“蘇武持節(jié)，雪映北海之冰；張騫鑿空，塵卷西域之云”，以“雪”“塵”為兩極，地球兩端架起精神的絲綢之路，這種對仗哪里是文字技巧？分明是民族精神的DNA雙螺旋，左旋是鐵血，右旋是文脈，擰成漢魂的鋼筋鐵骨！
論及聲律，此賦簡直是《漢書》的活態(tài)樂譜。撞響在“津”“精”“旬”的韻腳上，如未央宮的編鐘在云端轟鳴；平仄交替處似飛檐斗拱的榫卯，嚴(yán)絲合縫卻暗藏雷霆萬鈞之力。“銅雀銜環(huán)，奏黃鐘之雅韻；玉虎伏轡，引大呂之清音”，不僅是聲律的自證，更是以禮樂寫國運(yùn)——黃鐘大呂失則天下亂，此賦偏讓兩千年后的今天，仍能聽見漢廷朝會的鐘鼓震碎陰霾！
典故運(yùn)用更是氣吞山河。37處《史》《漢》典故不是故紙堆里的僵尸，而是躍出竹簡的猛虎：“封狼居胥”四字，是霍去病的馬蹄踏碎狼山的巨石；“石渠閣藏竹帛”七字，是董仲舒的頭巾掃過竹簡的塵埃；“月滿則虧”四字，是王莽篡漢時朝堂梁柱的斷裂聲。21處《詩》《騷》語匯如昆侖玉碎，“南風(fēng)解慍”化自《詩經(jīng)》，卻添了漢家天子“以德服人”的霸氣；“上下而求索”的余韻藏在“張騫鑿空”里，讓楚辭的孤憤化作開拓西域的雄心。這些典故哪里是引用？分明是歷史人物借作者之筆，紙上重演當(dāng)年的驚世之舉！
二、時空架構(gòu)：宮闕為星臺，轉(zhuǎn)乾坤于掌心
此賦最駭俗的創(chuàng)造，是將未央宮變成時空的轉(zhuǎn)換器——空間上，從龍首山的“九域精氣”到椒房的“潤珠”，是帝國疆域到閨閣心事的折疊；時間上，從蕭何監(jiān)造的夯土聲到考古者的毛刷聲，是兩千年光陰的壓縮；精神上，從“天子垂裳”到“文脈不絕”，是物質(zhì)宮殿到民族圖騰的升華。三者交織，如未央宮的復(fù)道凌空，一腳踩在漢武帝的鎏金銅柱上，一腳已踏入考古現(xiàn)場的探方里。
開篇“龍首山凝九域精氣，昆明池納四海靈澍”，看似寫山水，實(shí)則是給漢家天下定坐標(biāo)：龍首山是地脈的脊梁，昆明池是文脈的血脈，宮殿不過是這“脊梁”與“血脈”上生長的骨肉。接著“前殿巍峨”“金莖承霄”，由外及內(nèi)如剝洋蔥，每層都辣得人睜不開眼——外層是帝王的威嚴(yán)，中層是工匠的巧思，核心是“非壯麗無以重威”的治國哲學(xué)。這種空間敘事哪里是描景？分明是用文字復(fù)原《考工記》里“匠人營國”的通天智慧！
時間線索更是一把屠龍刀?！拔粽呤捄伪O(jiān)造”是初創(chuàng)的青澀，“當(dāng)其盛也”是巔峰的怒放，“王莽篡漢”是驟雨的摧折，“今觀遺址”是灰燼里的新芽。四段時間如四季輪回，卻偏在“銅雀墜地”后筆鋒一轉(zhuǎn)：“然其精神永存”！這哪里是寫興衰？分明是宣告文明的不死定律——秦磚漢瓦會碎，但“犯我強(qiáng)漢者雖遠(yuǎn)必誅”的基因，早刻進(jìn)每個考古探方的陶片里！
精神維度的躍遷堪稱神跡。從“羽林軍持戟”的武力，到“董子下帷”的文治，再到“華夏文明之基因庫”的終極定義，是將漢王朝的“武功”與“文治”蒸餾成民族精神的原漿。當(dāng)“霍驃騎三征河西”與“司馬遷秉史家之筆”在賦中并立，我們突然懂了：所謂“漢”，既是馬背上的開拓，也是竹簡上的堅守，二者缺一，便不是完整的漢魂！
三、漢魂熔淬：于鐵血與文心間，鍛華夏之精鋼
未央宮從來不是冰冷的建筑群，而是漢民族的精神熔爐。張從安以“文武雙火”冶煉，出爐的是“剛不折、柔不彎”的精鋼。
“武備森嚴(yán)”一章，字字都帶著鐵甲的寒光?！坝鹆周姵株?，虎賁士彎弓待發(fā)”，十字寫盡軍容，如見《史記》里“材官蹶張”的銳士列陣；“周亞夫軍令如山”，五字壓得人喘不過氣，細(xì)柳營的軍門至今還擋著擅闖的車馬；“霍驃騎三征河西，封狼居胥”，八字如驚雷炸響，狼居胥山的石碑上，至今還留著少年將軍的馬蹄印。最狠是“烽燧連營，蔽日月之光”，不是夸張，是史實(shí)——漢武帝時的烽火，確實(shí)燒紅了半個亞洲的夜空！這種筆力哪里是寫戰(zhàn)爭？分明是用文字重鑄漢軍的鐵甲，“漢”這個字，至今仍帶著刀光劍影的威懾！
“文教昌明”一章，則是另一種磅礴?！岸酉箩?，講三綱五常之要”，是思想的奠基，讓儒學(xué)從諸子百家之一，變成支撐帝國的棟梁；“司馬遷秉史家之筆”，是精神的救贖，宮刑割不斷的，是“究天人之際”的脊梁；“賦家鋪采摛文”，是文采的爆發(fā)，司馬相如的賦筆，能讓漢武帝的龍椅都跟著文字起伏。當(dāng)“石渠閣中，儒林聚辯”的聲浪響起，我們突然明白：漢軍能打遍天下，不僅靠李廣的箭，更靠董仲舒的“天人三策”——這才是“文以載道”的終極形態(tài)：文不是武的點(diǎn)綴，而是武的靈魂！
“月滿則虧”的轉(zhuǎn)折，是全篇最鋒利的刀刃?！巴趺Т蹪h”“赤眉焚宮”，寫的是政權(quán)的崩塌，卻偏在“銅雀墜地”后補(bǔ)一句“聲斷千年之韻”——這“韻”不是宮商角徵羽，是漢家天下的精氣神！接著“綠林起義”“銅馬奔騰”，亂局中偏見“文脈不絕”，這種在廢墟里看見新芽的眼力，哪里是文人的感傷？分明是歷史哲學(xué)家的通透——文明從不是水晶瓶里的花，而是野火燒不盡的草，越燒越旺！
四、文格與人格：三十年磨一劍，斬盡古今俗筆
張從安三十余年精研古詩詞，其筆力如老藤纏巨石，既見《離騷》的孤憤，又含《史記》的沉雄?！段囱雽m賦》不是憑空掉下來的，是從《金陵賦》的六朝煙水里淬煉過，從《長征》的槍林彈雨中鍛造過，從《虎跳峽》的驚濤駭浪里沖刷過的終極結(jié)晶。
看他的技法，“寧用典如用劍，不使詞如使錢”?！氨迩f之珉”典出《史記·張儀列傳》，卻借門扉雕刻寫工匠的匠心，典故成為敘事的骨血而非裝飾的金粉；“洛書之?dāng)?shù)”暗合《周易》，卻用來寫飛檐斗拱的巧思，玄學(xué)落地成建筑的力學(xué)。這種“典為我用”的霸氣，哪里是掉書袋？分明是用典故當(dāng)磚，砌自己的文字長城！
看他的精神，與漢家英雄一脈相承。張騫鑿空西域，他鑿空古典文學(xué)的邊界；蘇武持節(jié)十九年，他守詩詞格律三十載；霍去病“匈奴未滅何以家為”，他“俗筆不除何以成文”?！逗畼禽d影》《煙波江上聽風(fēng)吟》等自撰詞牌在詞林立足，我們懂了：他不是在復(fù)刻傳統(tǒng)，是在給傳統(tǒng)注入新的基因——就像漢武帝給儒學(xué)注入“春秋決獄”的實(shí)用精神，古老的文體突然有了當(dāng)代的心跳！
最難得是他的視野，跳出“懷古傷今”的小格局，直抵“通古今之變”的大境界。“今人觀之，當(dāng)思興替之道”，是將未央宮的廢墟變成治國理政的沙盤；“使未央之精神，永耀寰宇”，是讓漢魂成為照亮世界的燈塔。這種“以史為鑒，面向未來”的氣魄，哪里是文人的酸腐？分明是當(dāng)代士大夫的擔(dān)當(dāng)——就像班固寫《漢書》，不僅是記錄歷史，更是為后世立法！
五、雄文定鼎：不獨(dú)為漢家賦，實(shí)為萬世立極
歷數(shù)千古賦作，班固《兩都賦》太“官樣”，左思《三都賦》太“堆砌”，杜牧《阿房宮賦》太“怨憤”，唯此《未央宮賦》，以“小篇幅”藏“大宇宙”，堪稱“賦中之《史記》”。
其“大”在格局：寫未央宮，卻著眼“九域”“四?！?，一座宮殿成為整個東亞文明的縮影；其“深”在哲思：于“興”“衰”中見“?！钡?，證明文明的生命力不在磚石而在精神；其“雄”在氣魄：敢讓“漢魂”與“今人”對話，宣稱“永耀寰宇”，這種自信，是盛唐氣象的當(dāng)代回響！
今日讀此賦，當(dāng)知：我們挖的不是未央宮的遺址，是民族精神的礦藏；我們讀的不是駢文的平仄，是祖先留給我們的密碼。考古者的毛刷拂去陶片上的塵埃，歷史學(xué)家的狼毫記錄下這一切，其實(shí)都是在續(xù)寫這篇《未央宮賦》——因?yàn)槲囱雽m從未消失，它只是換了種方式活著：活在“一帶一路”的駝鈴聲里，活在“犯我中華者雖遠(yuǎn)必誅”的宣言里，活在每個為民族復(fù)興而拼搏的人身上！
張從安以《未央宮賦》證明：真正的古典文學(xué)，是能讓歷史站起來說話的魔法。這篇雄文在新時代的空氣中震顫，我們聽見的，不僅是兩千年的鐘鼓，更是未來的號角——它在說：漢魂不死，文脈永續(xù)，未央未央！
