《山河留聲機》 Gramophone of Mountains & Rivers · 文明山河與千年遺珍敘事集

《敦煌》 Dunhuang

公元四百年冬，無名畫工背著畫囊走進鳴沙山斷崖，在莫高窟伸手不見五指的幽暗裡點起胡麻油燈，將遠方運來的青金石、朱砂與石綠一錘錘研成泥，仰首繪就漫天飛天與第257窟《鹿王本生》。兩千年風沙掠過河西走廊與九層樓紅檐，琵琶與竹笛在弦樂鋪陳的大漠長風裡交織，記錄下石壁紋路間從未熄滅的微光。

Set between the winter of 400 AD and the present day, "Dunhuang" follows an unnamed muralist who walked into the cliffside grottoes of Mingsha Mountain along the Silk Road, grinding imported lapis lazuli, vermilion, and malachite by sesame-oil lamplight for thirty years. Anchored in historical imagery from the Mogao Caves—including the Nine-Story Pavilion, the Hexi Corridor, reversed-pipa flying apsaras, and the Northern Wei Deer King Jataka mural in Cave 257—the composition weaves pipa, Dunhuang bamboo flute, solo cello, and sweeping orchestral strings across two millennia of desert wind to meet a modern traveler standing beneath the painted stone.

《三星堆：半張金面具》 Sanxingdui: Half a Golden Mask

三千年前岷江畔的篝火旁，未留文字的古蜀匠人以夜火鍛打薄如蟬翼的黃金，將對天地星辰的敬畏熔鑄進四米高的青銅神樹、九隻神鳥與縱目面具。沉睡三千載黃土後，三星堆半張黃金面具在博物館聚光燈下重現光芒，低沉大提琴、古樸骨笛與青銅編鐘交響，定格隔著展櫃玻璃跨越三十個世紀的凝望。

"Sanxingdui: Half a Golden Mask" contemplates the Bronze Age Shu civilization along Sichuan's Min River—an ancient culture unrecorded in dynastic chronicles that cast its cosmology directly into gold foil and molten bronze. Centered on artifacts unearthed at the Sanxingdui site, including the iconic fragmentary gold mask, the four-meter Bronze Sacred Tree perched with nine solar birds, and the protruding-eye bronze masks, the piece pairs resonant bronze chimes, bone flute, solo cello, and atmospheric orchestral strings to frame a three-thousand-year encounter between ancient stargazers and a modern visitor behind museum glass.

《徽州雨》 Huizhou Rain

天青色雲霧低垂黃山，千年細雨漫過徽州白牆黛瓦的馬頭牆、舊石板青苔與南湖畫橋的烏篷船燈火。曲作並置八百年前背油紙傘出山經商的徽州少年，與今日握著返程高鐵票回望故鄉春茶的都市遊子；古箏、江南竹笛與溫潤弦樂融入簷下細雨聲，在湯顯祖「無夢到徽州」與汝窯天青釉色間留出宋畫般的清淨空白。

"Huizhou Rain" evokes the classical ink-wash landscape of historic Huizhou beneath the Huangshan mountains, where fine mist dampens handmade xuan paper, moss-lined flagstones, white walls with stepped horse-head gables, and the painted bridge over Hongcun's South Lake. Paralleling a fourteen-year-old Song-era Huizhou merchant setting out with an oil-paper umbrella and a modern city commuter carrying homesickness in a briefcase, the arrangement blends guzheng, Jiangnan xiao and bamboo flute, felted piano, chamber strings, and courtyard rain around Tang Xianzu's famous couplet and the sky-blue celadon glaze of Song Dynasty Ru ware.

《長安夜，西安晨》 Chang'an Night, Xi'an Morning

深夜十一點半的永寧門城牆根下，加完班的年輕人彈著木吉他、喝著橘子味冰峰汽水；腳下青石板曾走過李白的白馬，曲江池畔亦留有杜甫為房租嘆息的詩行。直到凌晨五點半蒸籠揭開、回民街羊湯與滾燙泡饃喚醒鐘樓朝霞，木吉他民謠與唐風竹笛交融，寫盡十三朝古都長安與煙火西安的一夜一晨。

"Chang'an Night, Xi'an Morning" traces a single night-to-dawn arc through China's thirteen-dynasty capital. Beginning at 11:30 PM beneath the Ming-era Yongning Gate ramparts—where a young worker off a late shift plays acoustic guitar and drinks orange Bingfeng soda over stones once crossed by Tang poets Li Bai and Du Fu near Qujiang Pool—the narrative moves to 5:30 AM around the Bell Tower and Muslim Quarter as firewood mutton broth and steaming paomo greet the morning commute, set to steel-string folk guitar, dizi flute, cello, and gentle rhythm.

《錫林郭勒的最後一班車》 The Last Bus of Xilingol

《錫林郭勒的最後一班車》收錄於「山河留聲機」欄目及《東北往事》企劃，描寫初冬清晨六點北方小站的離鄉記憶：哈滿白氣的售票窗、沉重的舊羊皮大衣、母親塞進兜裡的微酸奶豆腐，以及擦開冰花後在後視鏡裡搖晃的木牌。馬頭琴、口琴與民謠吉他在風雪環境聲中交織，道出「以為遠行只是一張車票，卻走成半生漂泊」的北方鄉愁。

Part of the Gramophone of Mountains & Rivers series and the Once Upon a Time in the Northeast album cycle by CHÖRAB · SHADOW & SOUND, The Last Bus of Xilingol captures a winter dawn departure across China's Inner Mongolian borderlands. Concrete sensory details—a breath-fogged ticket window at six a.m., a heavy old sheepskin coat, frost flowers rubbed clear on bus glass, and tangy Mongolian dried milk curd (huruud / nai doufu) tucked into a pocket by a mother—anchor a meditation on irreversible youth and migration, scored with morin khuur, harmonica, acoustic guitar, and blizzard wind.