三星堆边璋图像与古蜀记事

三星堆二号坑出土的边璋，正反两面有四幅相同的五层图像，图像上部第一、二层表明巫师施法动机。迫使山水之神低头，消灾弭祸；下部第四、五层表明对自然神施法须用的装束、体态和全套法器。可见边璋相当于巫师的文书档案。巫文化中手势具有重要作用。图像中巨手压抑大山，意在对山神既崇又压，软硬兼施；下图代替巨手的牙璋插在山坡处，也发挥压的功能，并非祭祀之意。而象牙的巫术功能，是企图使洪水淹没区干涸。牙璋和象牙，分别是弓鱼族巫师镇山和镇水的法器。三星堆有圈手铜人，金沙遗址、宝鸡茹家庄也有。根据这一手势特征及其他线索推测，殷商中晚期三星堆蜀人开始往成都迁移，以金沙为都城；在西周时被封为渔伯，向渭河南岸迁徙。

Bianzhang Patterns in Sanxingdui and Adversaria of Ancient Shu

Bianzhang unearthed from Pit 2 of Sanxingdui has four pictures with five-layer-patterns on both sides, which convey rich information. The top two layers show that wizards＇ motivation is to force the god of mountains and rivers obedient; while the fourth and fifth layers show the needed costume, the set of instruments and wizards＇ posture when casting spells to the gods of nature. So Bi- anzhang is wizard＇ s file. The wizard＇ s gestures also have significant meanings in witchery culture. The huge hand pressing mountains means people worship and hold down the god of mountains. The Yazhang stuck into the mountainside means people＇ s control over the mountain god. Ivory is the instrument used by wizard of Gongyu nationality for ordering the gods of mountains and rivers, when drying or flooding is necessary. And the bronze hand circles appear in Sanxingdui as weU as in Jinsha and Baoji Rujia Zhuang. According to these clues, it can be inferred that Shu people in Sanxingdui started immigrating to Chengdu and setded in Jinsha after the middle of Yin Dynasty; then they were dubbed as Gongyubo and immigrated toward the south bank of Weihe River.