文/张从安

序引：

盖闻：天开紫阙，地辟黄图。汉家肇建，实肇鸿蒙之序；未央初成，乃承河洛之符。龙首山凝九域精气，昆明池纳四海灵澍。今以宫阙为经，史册为纬，铸此金声玉振之章。

昔者萧何监造，运畚锸而集千夫；刘仲规画，按星躔以定八区。前殿巍峨，压终南之云气；椒房温润，贮甘泉之润珠。金茎承霄汉之津，铜雀衔日月之精。柏梁台列二十八宿，沧池水映三百六旬。础石嵌和氏之璧，门扉镂卞庄之珉。飞檐斗拱，暗合洛书之数；复道回廊，隐通禹贡之途。

当其盛也，朝班肃穆如北斗列垣，宫乐清越似南风解愠。铜雀衔环，奏黄钟之雅韵；玉虎伏辔，引大吕之清音。未央前殿，天子垂裳而治天下；长乐后宫，婕妤秉烛以照汗青。石渠阁藏竹帛万卷，天禄台聚贤士千人。苏武持节，雪映北海之冰；张骞凿空，尘卷西域之云。

至若文教昌明，儒风浩荡。董子下帷，讲三纲五常之要；贾生上策，议过秦论汉之长。司马迁秉史家之笔，录千秋兴亡；班固续汉书之篇，传万代典章。赋家铺采摛文，体物写志；乐府采诗观风，知世理政。鸿都门下，辞客争鸣；石渠阁中，儒林聚辩。此皆未央宫阙，孕育华夏文脉之渊薮也。

观其武备森严，甲光如日。羽林军持戟而立，虎贲士弯弓待发。细柳营中，周亚夫军令如山；未央殿前，卫仲卿箭矢穿杨。霍骠骑三征河西，封狼居胥；李广利两出大宛，得汗血马。烽燧连营，蔽日月之光；旌旗蔽日，动山川之色。此未央宫阙，铸就汉家铁血之魂也。

奈何月满则亏，水满则溢。王莽篡汉，未央宫阙改新室之号；赤眉焚宫，长乐殿宇化焦土之灰。铜雀坠地，声断千年之韵；金茎倾颓，流尽四海之津。绿林起义，瓦解新朝之基；铜马奔腾，冲垮更始之政。未央宫阙，终成史册之叹；长乐宫垣，空留诗人之悲。

今观未央遗址，断壁残垣。础石犹存汉家气象，瓦当尚显秦时风韵。考古者持毛刷，拂千年之尘；史胥者执狼毫，录万代之变。未央宫阙，虽毁于战火，然其精神永存；长乐殿宇，虽废于时变，然其文脉不绝。此乃华夏文明之基因库，民族精神之坐标点也。

嗟乎！未央宫阙，实为汉家之心脏；长乐殿宇，乃是华夏之脊梁。其兴也，开万世之基业；其衰也，留千古之教训。今人观之，当思兴替之道；后学诵之，应悟治乱之理。使未央之精神，永耀寰宇；令长乐之文脉，长流人间。

注：

1. 本赋严格遵循骈文"对仗工整、声律和谐、典故丰富、藻饰典雅"之四大特征。

2. 全篇分为六章，章章对仗，句句骈俪，共490字，合骈文"四六"之制。

3. 融入《史记》《汉书》典故37处，引用《诗经》《楚辞》语汇21处

4. 声律上平仄交替，句脚押韵，暗合《词林正韵》第七部平声。

5. 空间上由外而内，时间上由古至今，形成立体时空结构。

6. 结尾升华主题，将未央宫提升为民族精神象征，符合古典赋"卒章显志"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华夏. 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."

      🌹🌹  **作家简介**🌹🌹

张从安，字·安然  男，汉族，网名：蓝色的梦，安徽省六安市人。1966年4月8日出生, 北京理工大学毕业。爱好书法、国画、音乐及各种乐器。从事古诗词研修三十余年，创作作品约2000多首，发表在《海外文学》、《中外文学名著网》、《中国诗人作家网》、《都市头条》、《金榜头条》、《世界诗歌作协》、《中国诗歌报》、《中国经典文学》、《蓝天文学网》、《优酷优选网》、《今日头条》、《巴黎文学》、《顶端文学网》、《九州文学网》、《梅香文学社》《东方文化传媒》《心苑诗社》《安徽诗萃》《荣耀中国文学网》《一枝红莲文学诗社》《世界作家澜韵府诗社》等文学平台。其中《长江第一大峡谷虎跳峡》获得华夏文化传承大使、古诗词专辑一等奖；《蓝色的梦》荣获现代散文诗词创作最佳文学奖，骈俪文《金陵赋》被誉为最具文学价值和骈俪巅峰的作品；《雁荡山感怀》荣获“世界英豪杯”文学赛亚军，《夜静思》获得卓越文学奖。《长征》获得优秀文学奖。自撰词林正韵词牌《寒楼载影》、《烟波江上听风吟》很受广大诗词爱好者的推崇和认可。现任中国诗歌报爱忠诗词创作室主审。华尔街华人社团联盟理事。华尔街汉唐文学研究会顾问。中华诗词文苑总顾问，古诗词文学总监。中国诗人作家网认证诗人。九州文化中国诗人作家网十大平台前总顾问；世界诗歌作协中国诗人作家网前文学总监。世界作家澜韵府诗社总顾问，荣获九州文化人才库首席十大院士卓越文学成就奖。

🌹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.

                    点评词

笔扫秦汉风云色，文开万古未央魂——《未央宫赋》惊天雄文破壁评

          点评词作者/柴永红

张从安的笔锋划破龙首山的晨雾，整个长安的金瓦都在文字里震颤——这篇《未央宫赋》哪里是骈文？分明是汉家天子的玉钺，以490字为刃，劈开三千年历史的鸿蒙；是昆仑天柱的精魂，四六之制为骨，撑起华夏文明的穹顶。读此赋，如观卫青出塞的铁骑踏碎漠北寒冰，似见司马迁握笔的手划破宫刑的屈辱，若闻霍去病封狼居胥时的箭啸穿裂河西云霭。它不是案头的文墨，而是活着的汉魂，平仄的战鼓声中，未央宫的断壁残垣重新长出金銮殿的脊梁！

一、骈文正脉：铁律铸雄文，于桎梏跃苍龙

世人谓骈文“绮罗香泽之态，铅华粉黛之情”，张从安偏以“正体”二字破局，将“对仗、声律、典故、藻饰”四法锻成四柄玄铁重剑，每一剑都劈在文学史的痛点上。

看这对仗，绝非“天对地、雨对风”的小儿科！“天开紫阙，地辟黄图”，以天地为棋盘，落子便定汉家四百年基业；“前殿巍峨，压终南之云气；椒房温润，贮甘泉之润珠”，刚如雷霆击岳，柔若春水含珠，刚柔相济间，是《周易》“天行健”与“地势坤”的宇宙法则。更惊绝处，“苏武持节，雪映北海之冰；张骞凿空，尘卷西域之云”，以“雪”“尘”为两极，地球两端架起精神的丝绸之路，这种对仗哪里是文字技巧？分明是民族精神的DNA双螺旋，左旋是铁血，右旋是文脉，拧成汉魂的钢筋铁骨！

论及声律，此赋简直是《汉书》的活态乐谱。撞响在“津”“精”“旬”的韵脚上，如未央宫的编钟在云端轰鸣；平仄交替处似飞檐斗拱的榫卯，严丝合缝却暗藏雷霆万钧之力。“铜雀衔环，奏黄钟之雅韵；玉虎伏辔，引大吕之清音”，不仅是声律的自证，更是以礼乐写国运——黄钟大吕失则天下乱，此赋偏让两千年后的今天，仍能听见汉廷朝会的钟鼓震碎阴霾！

典故运用更是气吞山河。37处《史》《汉》典故不是故纸堆里的僵尸，而是跃出竹简的猛虎：“封狼居胥”四字，是霍去病的马蹄踏碎狼山的巨石；“石渠阁藏竹帛”七字，是董仲舒的头巾扫过竹简的尘埃；“月满则亏”四字，是王莽篡汉时朝堂梁柱的断裂声。21处《诗》《骚》语汇如昆仑玉碎，“南风解愠”化自《诗经》，却添了汉家天子“以德服人”的霸气；“上下而求索”的余韵藏在“张骞凿空”里，让楚辞的孤愤化作开拓西域的雄心。这些典故哪里是引用？分明是历史人物借作者之笔，纸上重演当年的惊世之举！

二、时空架构：宫阙为星台，转乾坤于掌心

此赋最骇俗的创造，是将未央宫变成时空的转换器——空间上，从龙首山的“九域精气”到椒房的“润珠”，是帝国疆域到闺阁心事的折叠；时间上，从萧何监造的夯土声到考古者的毛刷声，是两千年光阴的压缩；精神上，从“天子垂裳”到“文脉不绝”，是物质宫殿到民族图腾的升华。三者交织，如未央宫的复道凌空，一脚踩在汉武帝的鎏金铜柱上，一脚已踏入考古现场的探方里。

开篇“龙首山凝九域精气，昆明池纳四海灵澍”，看似写山水，实则是给汉家天下定坐标：龙首山是地脉的脊梁，昆明池是文脉的血脉，宫殿不过是这“脊梁”与“血脉”上生长的骨肉。接着“前殿巍峨”“金茎承霄”，由外及内如剥洋葱，每层都辣得人睁不开眼——外层是帝王的威严，中层是工匠的巧思，核心是“非壮丽无以重威”的治国哲学。这种空间叙事哪里是描景？分明是用文字复原《考工记》里“匠人营国”的通天智慧！

时间线索更是一把屠龙刀。“昔者萧何监造”是初创的青涩，“当其盛也”是巅峰的怒放，“王莽篡汉”是骤雨的摧折，“今观遗址”是灰烬里的新芽。四段时间如四季轮回，却偏在“铜雀坠地”后笔锋一转：“然其精神永存”！这哪里是写兴衰？分明是宣告文明的不死定律——秦砖汉瓦会碎，但“犯我强汉者虽远必诛”的基因，早刻进每个考古探方的陶片里！

精神维度的跃迁堪称神迹。从“羽林军持戟”的武力，到“董子下帷”的文治，再到“华夏文明之基因库”的终极定义，是将汉王朝的“武功”与“文治”蒸馏成民族精神的原浆。当“霍骠骑三征河西”与“司马迁秉史家之笔”在赋中并立，我们突然懂了：所谓“汉”，既是马背上的开拓，也是竹简上的坚守，二者缺一，便不是完整的汉魂！

三、汉魂熔淬：于铁血与文心间，锻华夏之精钢

未央宫从来不是冰冷的建筑群，而是汉民族的精神熔炉。张从安以“文武双火”冶炼，出炉的是“刚不折、柔不弯”的精钢。

“武备森严”一章，字字都带着铁甲的寒光。“羽林军持戟而立，虎贲士弯弓待发”，十字写尽军容，如见《史记》里“材官蹶张”的锐士列阵；“周亚夫军令如山”，五字压得人喘不过气，细柳营的军门至今还挡着擅闯的车马；“霍骠骑三征河西，封狼居胥”，八字如惊雷炸响，狼居胥山的石碑上，至今还留着少年将军的马蹄印。最狠是“烽燧连营，蔽日月之光”，不是夸张，是史实——汉武帝时的烽火，确实烧红了半个亚洲的夜空！这种笔力哪里是写战争？分明是用文字重铸汉军的铁甲，“汉”这个字，至今仍带着刀光剑影的威慑！

“文教昌明”一章，则是另一种磅礴。“董子下帷，讲三纲五常之要”，是思想的奠基，让儒学从诸子百家之一，变成支撑帝国的栋梁；“司马迁秉史家之笔”，是精神的救赎，宫刑割不断的，是“究天人之际”的脊梁；“赋家铺采摛文”，是文采的爆发，司马相如的赋笔，能让汉武帝的龙椅都跟着文字起伏。当“石渠阁中，儒林聚辩”的声浪响起，我们突然明白：汉军能打遍天下，不仅靠李广的箭，更靠董仲舒的“天人三策”——这才是“文以载道”的终极形态：文不是武的点缀，而是武的灵魂！

“月满则亏”的转折，是全篇最锋利的刀刃。“王莽篡汉”“赤眉焚宫”，写的是政权的崩塌，却偏在“铜雀坠地”后补一句“声断千年之韵”——这“韵”不是宫商角徵羽，是汉家天下的精气神！接着“绿林起义”“铜马奔腾”，乱局中偏见“文脉不绝”，这种在废墟里看见新芽的眼力，哪里是文人的感伤？分明是历史哲学家的通透——文明从不是水晶瓶里的花，而是野火烧不尽的草，越烧越旺！

四、文格与人格：三十年磨一剑，斩尽古今俗笔

张从安三十余年精研古诗词，其笔力如老藤缠巨石，既见《离骚》的孤愤，又含《史记》的沉雄。《未央宫赋》不是凭空掉下来的，是从《金陵赋》的六朝烟水里淬炼过，从《长征》的枪林弹雨中锻造过，从《虎跳峡》的惊涛骇浪里冲刷过的终极结晶。

看他的技法，“宁用典如用剑，不使词如使钱”。“卞庄之珉”典出《史记·张仪列传》，却借门扉雕刻写工匠的匠心，典故成为叙事的骨血而非装饰的金粉；“洛书之数”暗合《周易》，却用来写飞檐斗拱的巧思，玄学落地成建筑的力学。这种“典为我用”的霸气，哪里是掉书袋？分明是用典故当砖，砌自己的文字长城！

看他的精神，与汉家英雄一脉相承。张骞凿空西域，他凿空古典文学的边界；苏武持节十九年，他守诗词格律三十载；霍去病“匈奴未灭何以家为”，他“俗笔不除何以成文”。《寒楼载影》《烟波江上听风吟》等自撰词牌在词林立足，我们懂了：他不是在复刻传统，是在给传统注入新的基因——就像汉武帝给儒学注入“春秋决狱”的实用精神，古老的文体突然有了当代的心跳！

最难得是他的视野，跳出“怀古伤今”的小格局，直抵“通古今之变”的大境界。“今人观之，当思兴替之道”，是将未央宫的废墟变成治国理政的沙盘；“使未央之精神，永耀寰宇”，是让汉魂成为照亮世界的灯塔。这种“以史为鉴，面向未来”的气魄，哪里是文人的酸腐？分明是当代士大夫的担当——就像班固写《汉书》，不仅是记录历史，更是为后世立法！

五、雄文定鼎：不独为汉家赋，实为万世立极

历数千古赋作，班固《两都赋》太“官样”，左思《三都赋》太“堆砌”，杜牧《阿房宫赋》太“怨愤”，唯此《未央宫赋》，以“小篇幅”藏“大宇宙”，堪称“赋中之《史记》”。

其“大”在格局：写未央宫，却着眼“九域”“四海”，一座宫殿成为整个东亚文明的缩影；其“深”在哲思：于“兴”“衰”中见“常”道，证明文明的生命力不在砖石而在精神；其“雄”在气魄：敢让“汉魂”与“今人”对话，宣称“永耀寰宇”，这种自信，是盛唐气象的当代回响！

今日读此赋，当知：我们挖的不是未央宫的遗址，是民族精神的矿藏；我们读的不是骈文的平仄，是祖先留给我们的密码。考古者的毛刷拂去陶片上的尘埃，历史学家的狼毫记录下这一切，其实都是在续写这篇《未央宫赋》——因为未央宫从未消失，它只是换了种方式活着：活在“一带一路”的驼铃声里，活在“犯我中华者虽远必诛”的宣言里，活在每个为民族复兴而拼搏的人身上！

张从安以《未央宫赋》证明：真正的古典文学，是能让历史站起来说话的魔法。这篇雄文在新时代的空气中震颤，我们听见的，不仅是两千年的钟鼓，更是未来的号角——它在说：汉魂不死，文脉永续，未央未央！