“‘远古之光——马家窑文化彩陶珍品展·世界视野中的马家窑文化’学术研讨会”和“心旅马家窑——五湖散翁（王志安先生）书画艺术展”于7月10日在北京市东城区中华民族艺术珍品馆圆满落幕。

"The Light of Ancient Times - Majiayao Culture Painted Pottery Exhibition, Majiayao Culture Seminar in the World Vision" and "Xinlu Majiayao - Wuhu Sanweng (Mr. Wang Zhian) Painting and Calligraphy Art Exhibition" were successfully concluded on July 10 at the Chinese National Art Treasure Museum in Dongcheng District, Beijing.

此次展览由中共北京市东城区委宣传部和定西市委宣传部、定西市文体广电和旅游局、临洮县人民政府共同主办，北京市东城区中华民族艺术珍品馆、甘肃省马家窑文化研究会、马家窑文化彩陶博物馆承办，于6月15日盛大开幕，期间共展出70余件距今5800年至4050年的史前彩陶珍品，国内外考古学、民族学、哲学、文字学等领域的40多名专家学者一同进行学术研讨。

The exhibition was co-sponsored by the Propaganda Department of the Dongcheng District Committee of the Communist Party of China, the Propaganda Department of the Dingxi Municipal Committee, the Dingxi Cultural and Sports Broadcasting and Tourism Bureau and the Lintao County People's Government. The exhibition was hosted by the Chinese Nationality Art Treasure Museum of the Dongcheng District of Beijing, the Majiayao Cultural Research Association of Gansu Province and the Majiayao Cultural Painted During this period, more than 70 pieces of prehistoric painted pottery treasures from 5800 to 4050 years ago were exhibited, and more than 40 experts and scholars in the fields of archaeology, ethnology, philosophy and Philology at home and abroad conducted academic discussions together.

马家窑文化彩陶最早于1924年由瑞典学者安特生首先发现于甘肃省定西市临洮县的马家窑村，20世纪70年代由我国著名考古学家夏鼐先生正式命名为马家窑文化。

马家窑文化是新石器时代晚期大地湾文化向西发展、与仰韶文化彩陶并驾齐驱的一份文化硕果，也是世界远古彩陶文化宝库中最璀璨的一颗文化明珠，无论从分布区域之广、持续时间之长、蕴藏数量之多、纹饰图案之绚丽多姿来说，都堪称世界彩陶文化史上的巅峰，是研究中华民族优秀传统文化的重要资源富矿，也是华夏文明起源和繁荣发展的重要历史见证。

The painted pottery of Majiayao culture was first discovered by Swedish scholar Antsen in 1924 in Majiayao village of Lintao County, Dingxi City, Gansu Province. In the 1970s, it was officially named Majiayao culture by Mr. Xia Nao, a famous archaeologist in China.

Majiayao culture is a cultural achievement of the westward development of the Dadiwan culture in the late Neolithic Age, which goes hand in hand with the colored pottery of Yangshao culture. It is also the most brilliant cultural pearl in the treasure house of the ancient colored pottery culture in the world. No matter from the wide distribution area, the long duration, the large number of deposits and the splendid decorative patterns. To say, they are the pinnacle in the history of world pottery culture. They are important resources and rich mines for studying the excellent traditional culture of the Chinese nation. They are also important historical witnesses for the origin and prosperity of Chinese civilization.

此次展出的彩陶珍品上，这些远古先民们绘就的纹饰，传递了丰富的远古社会文化信息。经过甘肃省马家窑文化研究会会长王志安近30年的潜心研究，在大量馆藏彩陶实物基础上，提出了一系列立足于历史学和社会学的学术观点：

"龙"是从"蛙"演化而来--远古先民崇敬水、赞美水也畏惧水，先民注意到青蛙的鸣叫与风雨紧密相关，通过"青蛙叫，暴雨到"的现象，认为青蛙是能呼风唤雨、驾驭洪水的神灵物。这种"能力"使得古人认为青蛙是他们的保护神，是能够呼风唤雨、抵驭洪水的精灵。加之青蛙本身的高产繁育能力，应和了古人祈求族群繁盛的心理，于是"蛙"图腾崇拜就一步演化就成能够驾驭洪水、战胜水患、神力无比的"蛙神"。"蛙神"形象在距今4500年前的马厂类型中有大量的反映，这种长着蛙一样长腿的"神人"逐步从四肢向多肢演化，由两层向多层增加，直到从竖立向横向演变，最终演化成了一只首尾相连，能够腾空而起、驾驭万物的龙图腾雏形。

On the painted pottery treasures displayed in this exhibition, the decorations painted by the ancient ancestors convey rich ancient social and cultural information. After nearly 30 years of intensive research by Wang Zhian, president of Majiayao Culture Research Association of Gansu Province, a series of academic viewpoints based on history and sociology are put forward on the basis of a large number of collections of painted pottery objects.

"Dragon" evolved from "frog"--the ancient ancestors worshiped water and praised water and feared water. The ancestors noticed that frog's call was closely related to wind and rain. Through the phenomenon of "frog's call, rainstorm arrival", they believed that frog was a God who could call the wind, call the rain and control the flood. This kind of "ability" made the ancients think that frogs were their gods of protection and the spirits who could call the wind, call the rain and control the flood. In addition, the high-yielding breeding ability of frog itself should be in harmony with the ancients'psychology of praying for the prosperity of the ethnic group, so the totem worship of "frog" gradually evolved into a "frog god" who can control floods, overcome floods and possess immense divinity. The image of "frog god" is reflected in the type of horse factory 4500 years ago. This kind of "god-man" with long legs like a frog gradually evolves from limbs to limbs, from two layers to multi-layers, until it evolves from vertical to horizontal, and eventually evolves into a prototype of dragon totem which can rise from the sky and control all things.

出现最早可释读的文字--在一件半山类型的神秘彩陶上半部是蛙神纹饰，两侧绘有类似于飞羽的翅膀，下半部绘有很大的女阴符号，而四周这些奇特的符号代表着什么寓意呢？甘肃省马家窑文化研究会会长王志安在2011年8月31日曾在《中国文物报》做了《马家窑彩陶上发现中国最早可以释读的文字》的整版报道，他提出彩陶上出现的这些独特的符号，就是中国最早可识读的文字"巫"字。在远古"巫"是沟通天地的使者，这个黑彩人物很有可能就是一位部落首领或女巫，也可能就是传说中"女娲"的原始造型。

The earliest interpretable text appeared - in the upper part of a half-mountain type of mysterious painted pottery is frog God decoration, with wings similar to flying feathers on both sides, and in the lower part there are large vulva symbols. What implications do these strange symbols represent? Wang Zhian, chairman of the Majiayao Culture Research Association of Gansu Province, reported in the Chinese Heritage Daily on August 31, 2011 that the earliest Chinese characters to be interpreted were found on the painted pottery of Majiayao. He proposed that these unique symbols appeared on the painted pottery were the earliest Chinese literary "witch" characters. In ancient times, "witch" was the messenger of communication between heaven and earth. This black figure was probably a tribal leader or witch or the original model of the legendary "Nuwa".

"卍"字符与太阳崇拜--这件马厂类型的彩陶上，描绘着双向对称的两组图案。一组对应的圆圈中，绘就着两个浑身长满羽毛的鸟形动物，有凌空飞翔、旋转飞升之状，也形似"卍"字。远古先民在劳作中，每日看到太阳东升西落、周而复始，就认为太阳是一只飞翔的鸟，从太阳鸟到"卍"字符的演变，体现了古人从"太阳崇拜"到无穷反复的观念。而另两个面绘有的女阴纹，则代表了生殖崇拜和"阴"性观念，这两组异常分明的"一阴一阳"，正体现了中国原始哲学中"阴阳对立"的辩证关系。

The character "Mao" and the worship of the sun - two sets of symmetrical patterns are depicted on this horse factory-type pottery. In a group of corresponding circles, there are two feathered bird-like animals, flying in the sky and spinning in the shape of a "plaque". In ancient times, when they saw the sun rising and setting in the East and setting in the west, they thought that the sun was a flying bird. The evolution of the characters from the sun bird to the "Mao" reflected the ancients'concept of "sun worship" to endless repetition. The other two paintings represent reproductive worship and the concept of "Yin" sex. These two groups of unusually distinct "Yin and Yang" reflect the dialectical relationship of "Yin and Yang opposition" in Chinese primitive philosophy.

展览期间，还同步举办了“世界视野中的马家窑文化”学术研讨会。国内外考古学、民族学、哲学、文字学、文化艺术学等领域的40多名著名专家学者汇聚一堂，分别就“中华民族艺术与马家窑文化”“世界视野中的马家窑文化”“羌与马家窑文化”等主题进行学术研讨。

During the exhibition, a symposium on "Majiayao Culture in the World Vision" was held simultaneously. More than 40 famous experts and scholars from the fields of archaeology, ethnology, philosophy, philology, culture and art at home and abroad gathered together to discuss the topics of "Chinese national art and Majiayao culture", "Majiayao culture in the world perspective", "Qiang and Majiayao culture".

研讨会期间，由山西人民出版社出版，甘肃省马家窑文化研究会会长、西北民族大学马家窑文化研究院院长王志安和加拿大易经学会主席、国际易学联合会副会长、考古学家邓宏海合著的《世界视野中的马家窑文化》一书进行了首发仪式。

During the seminar, it was published by Shanxi People's Publishing House. The book Majiayao Culture in the World Vision was co-authored by Wang Zhian, President of Majiayao Culture Research Institute of Gansu Province and Northwest University for Nationalities, and Chairman of the Canadian Institute of Yi Jing, Vice President of the International Union of Yi Studies and Archaeologist Deng Honghai. The first ceremony was held.

与此次展览同步举办的“心旅马家窑——五湖散翁（王志安先生）书画艺术展”也是本次活动的一个很有影响的部分。央视书画频道作了现场采编专题报导，北京和全国的书画艺术界和收藏界人士进一步了解到王志安的书画艺术魅力。

“远古之光——马家窑文化彩陶珍品展”，恰如京城夏日的一场好雨，为京城人送来了一道消暑清心的甘霖。此次展览让我们记住了中华文明的起源，看见了中华文明的灿烂，更预见了中华文明的明天。文化自信是一个民族自信的根，也是一个民族生生不息的魂，衷心祝愿马家窑文化能走向世界，随着时代的进步放射出更加绚丽夺目的光彩。

The "Heart Travel Majiayao - Wuhu Sanweng (Mr. Wang Zhi'an) Painting and Calligraphy Art Exhibition" held in conjunction with this exhibition is also a very influential part of this activity. CCTV Painting and Calligraphy Channel has made a special report on the spot. People in Beijing and the national painting and calligraphy art circles and collectors have further learned about Wang Zhian's artistic charm of painting and calligraphy.

"The light of ancient times - the exhibition of painted pottery treasures of Majiayao culture" is just like a good summer rain in Beijing, which brings a delightful shower to the people of Beijing to relieve the summer heat and refresh their hearts. This exhibition reminds us of the origin of Chinese civilization, sees the splendor of Chinese civilization and foresees the future of Chinese civilization. Cultural self-confidence is the root of a nation's self-confidence and the soul of a nation. I sincerely wish Majiayao culture can go to the world and shine more brilliantly with the progress of the times.