雲熙藏瓦｜汉代“长毋相忘”瓦当

“长毋相忘”瓦当为汉代宫殿建筑构件，其铭文承载着深刻的情感寄托。据传汉武帝北巡河间时，见紫气升腾，术士称此地有奇女。寻访得知赵氏女天生双手握拳，无人能开。武帝轻抚其手，竟见玉钩现于掌心惊为天人，便将她纳为妃嫔，为其修钩弋宫，号"钩弋夫人"。她为花甲之年的武帝生下幼子刘弗陵，武帝甚喜，赞其"类我"。后武帝欲立弗陵为储，却担忧"子幼母壮"引发外戚之祸，遂赐死钩弋夫人；另有《汉书》记载汉昭帝即位后追尊生母为皇太后，修筑望母台，以"长毋相忘"瓦当寄托哀思，既显人子孝心，亦彰汉代"以孝治天下"之理念。

The "Chang Wu Xiang Wang" eaves tile was a component of Han Dynasty palace architecture, with its inscription carrying profound emotional significance. Legend has it that when Emperor Wu of Han was inspecting Hejian in the north, he saw a purple mist rising. A diviner claimed that an extraordinary woman lived there. Upon investigation, it was discovered that a woman surnamed Zhao was born with clenched fists that no one could open. Emperor Wu gently touched her hands, and to his astonishment, a jade hook appeared in her palms. Amazed by her celestial beauty, he took her as a concubine, built the Gouyi Palace for her, and bestowed upon her the title "Lady Gouyi." She bore Emperor Wu, then in his sixties, a young son named Liu Fuling. The emperor was overjoyed and praised the child, saying he "resembles me." Later, when Emperor Wu intended to designate Fuling as his heir, he feared that "a young son with a strong mother" might lead to trouble from maternal relatives, and thus ordered Lady Gouyi's death. Another account from the Book of Han records that after Emperor Zhao of Han ascended the throne, he posthumously honored his birth mother as Empress Dowager and constructed a "Longing-for-Mother Terrace." The "Never Forget Each Other" eaves tile was used to convey his grief, reflecting both a son's filial devotion and the Han Dynasty's governing principle of "ruling the world through filial piety."

"长毋相忘"是汉代广为流传的吉祥语，意为“长相思，毋相忘”。用现在的话来解释就是“我们永远不要忘记对方”。这一饱含深情的表达常与"长乐未央""千秋万岁"等吉祥语组合使用，既可寄托母子亲情，也能表达恋人间的情意。考古发现表明，这一吉祥语不仅见于汉代瓦当，还出现在同时期的青铜镜和带钩等器物上。现藏于日照博物馆的"长毋相忘"青铜镜和南京博物院收藏的"长毋相忘"银带钩，就是西汉时期这一文化现象的珍贵实物例证。

"ChangWuXiangWang" (长毋相忘) was a widely circulated auspicious phrase during the Han Dynasty, meaning "everlasting remembrance, never to forget each other." In modern terms, it conveys the sentiment of "we shall never forget one another." This emotionally rich expression was often paired with other auspicious phrases like "Chang Le Wei Yang" (长乐未央, "eternal joy without end") and "Qian Qiu Wan Sui" (千秋万岁, "a thousand autumns and ten thousand years"), serving both as an expression of maternal-filial devotion and romantic affection between lovers. Archaeological findings reveal that this auspicious phrase appeared not only on Han Dynasty roof tiles but was also widely inscribed on bronze mirrors and belt hooks. Notable examples include the "Chang Wu Xiang Wang" bronze mirror housed at the Rizhao Museum and the silver belt hook bearing the same inscription in the collection of the Nanjing Museum—precious material evidence of this cultural phenomenon from the Western Han period.

(上图来自网络：南京博物院长毋相忘银带钩）

(上图来自网络：襄阳博物馆长毋相忘青铜镜）

"长毋相忘"四个字，既是穿越千年的深情告白，也是刻骨铭心的永恒约定。寥寥数字间，藏着最绵长的思念——纵使岁月走到尽头，我们对彼此的记忆也要跨越时光的阻隔。当我们在汉代文物上邂逅这四字铭文时会发现人们对真挚情感的向往，古今如一，那些未能圆满的相思和深藏心底的眷恋，将鲜活的真心化作了时间长河里永恒的回响。

These four characters—"Chang Wu Xiang Wang" (长毋相忘)—are both a love confession echoing across millennia and an unforgettable eternal vow. Within their brevity lies the most enduring longing: even if time itself reaches its end, our memories of one another must transcend the barriers of ages. When we encounter this inscription on Han Dynasty artifacts, we recognize a truth unchanged through time—human yearning for sincere affection remains constant. The unfulfilled yearnings and deeply cherished devotions of the past have transformed living hearts into eternal reverberations across the river of time.

雲熙文化展示的这枚“长毋相忘”瓦当，直径15.5厘米。瓦当中央饰有象征圆满的饼状乳钉，外围环绕凸弦纹饰，双线界格将当面均分为四格，“长毋相忘”四字以隶变体字体分别饰于四格内。“隶变体”这种字体正处于小篆向隶书转变的关键时期是汉字发展史上重要的转折点，奠定了现代汉字的基本形态。而历经两千余年岁月洗礼，瓦当上的"长毋相忘"四字依然散发着温润光泽，其对称布局彰显汉代工匠的巧思，笔画线条浑厚圆润又透露出含蓄的柔美。

The "ChangWuXiangWang" (长毋相忘) eaves tile displayed by YUNXI ART measures 15.5 cm in diameter. At its center lies a cake-shaped nipple stud symbolizing wholeness, encircled by raised bowstring patterns. The face is symmetrically quartered by double-line partitions, each quadrant containing one character of the inscription in the transformative clerical script (隶变体) - a pivotal transitional style between small seal and clerical scripts that marked a crucial turning point in Chinese character evolution, establishing the foundation for modern Chinese writing.Remarkably, after two millennia of weathering, the four characters still emanate a warm luster. Their symmetrical arrangement showcases Han craftsmen's ingenuity, while the robust yet gracefully rounded strokes reveal an understated elegance. The characters' balanced composition and fluid lines embody the harmonious aesthetic ideals of Han artisanship, where structural precision coexists with organic softness.

黄毫金（愙斋）

80后，出生广东雷州

中国舞台美术学会会员

广东省舞台美术研究会会员

湛江市书法家协会会员

雷州市书法家协会副秘书长、理事

《书法雷州》编委会成员