秦汉之际，北方的匈奴击败东胡，鲜卑人就受匈奴役属。世代更迭，鲜卑人向着温暖和生存前进，他们越过沙漠和大泽，用铁蹄和长矛撞开平城的大门，成为入主中原的第一个北方民族。应为魏书神品，更应为书北碑者重视。然而，兴安岭荒榛洞穴，蕴此千五百余年之文物，却少有游人。篆刻作品入展西泠印社第四届篆刻作品评展，入选西泠印社第二届国际篆刻书法作品大展。中国画《秋韵双蝶》在第十四届当代中国花鸟画大展中获二等奖。
嘎仙洞，1997年王立民拍摄
1980年，我在哈尔滨师范大学读书，一天傍晚，在游寿教授家里正巧遇到几个人来找先生，说是谈大兴安岭嘎仙洞拓跋魏摩崖祝文考证的事。
游先生与来人谈话的声音很低，但先生的脸上显得极为兴奋。于是，我在他们的谈话中知道了在大兴安岭的嘎仙洞里有一篇拓跋魏太平真君四年刻的祝文。这篇祝文揭开了拓跋鲜卑发祥地的神秘，确定了一条多少学人未能确定的山脉位置——嘎仙洞所在地：大鲜卑山。
悠悠17载，今年的初秋，我终于踏上了去嘎仙洞的路，去圆我拜谒北魏迁都洛阳前石刻摩崖的梦。
车在山里跑，满眼的绿色，只有一条沙路是金黄的。
在距内蒙古自治区呼伦贝尔盟鄂伦春自治旗阿里河镇西北9公里处，这大兴安岭北段顶巅之东麓的“国家重点文物保护单位嘎仙洞遗址绝对保护区”，静静地等待着我。
1997年9月2日，由左至右沈志军、王立民、朱宏、申明在嘎仙洞口的点将台上。
大山深处，突地出现了一片与长长的兴安岭相异的奇景：左右数百米圆浑的石壁宽博而清远，山的半腰，有一个高和宽都在20余米的天然洞穴。站在山前的平地上，只能仰视着这神奇的景色。黑黑的洞口，三角形，显得更加深邃和久远。
远在先秦时期，鲜卑部落就以此为中心，在大兴安岭的中部和北部繁衍生息。当时的大兴安岭就叫大鲜卑山。巍巍兴安，辽阔深远，人迹罕至。不知是因为它的神奇而孕育了中华民族祖先的一脉，还是因为有了这一脉驰突犷悍的民族，才造就了这放着光泽的原始迹地。
鲜卑民族原是东胡的一支。秦汉之际，北方的匈奴击败东胡，鲜卑人就受匈奴役属。汉武帝元狩二年(公元前121年)、四年(公元前119年)，霍去病两次击败匈奴左王，鲜卑部落才开始没有了匈奴的制约而自由地发展和迁徙。嘎仙洞就是在霍去病击败匈奴左王后不久，鲜卑首领率族离开大兴安岭时所放弃的最后的“石室”。
嘎仙洞的广阔，与《魏书》所记相同，它南北长约百余米，洞内极平坦，洞中有一石头支起的一块三四米见方的石板，下有灰迹。我想，这一定是先民们在冬季用火烤热石以御风寒吧?站在洞口前方左侧的“点将台”上，俯瞰着脚下的平原，秋风中的林涛声里，仿佛有一队队的部落成员牵着山牛驮载着猎物，等待着首领发出迁徙的号令。世代更迭，鲜卑人向着温暖和生存前进，他们越过沙漠和大泽，用铁蹄和长矛撞开平城的大门，成为入主中原的第一个北方民族。这漫长的迁徙和强盛纪录了檀石槐、步度根、轲比能等一代又一代鲜卑首领的天才和智慧。
嘎仙洞就是当时鲜卑部落的“司令部”，在它脚下的平原上数以万计的部落成员住在用桦树皮搭成的“撮罗子”里，他们射猎为务，食肉衣皮……谁能想像到当时是何等的喧嚣和雄壮。
公元386年，拓跋重新建立政权，先定都平城，后迁都洛阳，统一了黄河流域。这开天辟地的民族大融合，为后来隋唐更大的统一，为光耀世界的盛唐文化，创造了历史的前提。
北魏太平真君四年(公元443年)，北魏第三代皇帝拓跋焘，为显国威，为保佑子孙繁盛连绵不断，派人从首都平城回到大兴安岭祖庙嘎仙洞祭祀先人，并刻下了19行201个古茂雄浑的魏书。
站在这被人称为应与秦兵马俑发现相提并论的祝文面前，我深深地怀念着为此项考古工作作出科学推论的游寿老师，也为没能在此地见到已去美国讲学的嘎仙洞祝文发现者米文平先生而留下一丝遗憾。
王立民在嘎仙洞西壁刻石前仔细观摹祝文。
这201个存汉隶朴拙笔法的北魏祝文，与北魏迁都洛阳后诸造像文字相比更加犷悍沉着。应为魏书神品，更应为书北碑者重视。正如游寿先生在《题大兴安岭鲜卑石窟摩崖祝文》中言到：“寿数十年玩汉魏诸刻，每以不知拓跋氏古穴为恨。到北疆20余年，不意老耄之人得以登山见洞穴而论此，诚大快意，想海内同好或亦乐见之。”
大兴安岭鲜卑石窟摩崖祝文拓片。
然而，兴安岭荒榛洞穴，蕴此千五百余年之文物，却少有游人。通往嘎仙洞的这条山路显得过分的寂静，偶有一两个人，却是采蘑的山里姑娘。我不由地叹道：能有几人是为嘎仙洞而来?躬。.
王立民向着这北方民族的圣庙三鞠。
在嘎仙洞前150余米处，有一条清澈的河流，它是嫩江西岸支流甘河上游的一支山泉溪水，河水清凉甘甜，四季不断。这是拓跋鲜卑先人生命之源，它静静地由远古流到今天，又由今天流向未来。
1997年9月于哈尔滨三宜阁
(此文收入2003年北方文艺出版社出版的《文心雕虫》中)
王立民，山东蓬莱人，别名立酩，字无量，号鸿寿、牧公、牧工。1957年12月6日生于哈尔滨。毕业于哈尔滨师范大学政治系（经济学学士）、黑龙江大学文学与新闻传播学院中国古典文学研究生班。曾任省文化厅副厅长，省作家协会副主席，省文学艺术界联合会副主席，省书法家协会副主席。现为黑龙江省画院院士，国家一级美术师，中国作家协会会员，中国美术家协会会员，中国书法家协会学术委员会委员，西泠印社社员，中国诗经学会会员，中国汉画像学会会员。
少年习书画，1975年高中毕业，作为知识青年下乡到黑龙江省未开垦的三江平原从事农牧劳动。1978年末随着全国知青返城大潮回到哈尔滨市，在和兴百货商店做店员，后因有美术特长做了商店的广告美术设计师，1980年考入哈尔滨师范大学。大学读书时，曾担任黑龙江省大学生书法协会第一届主席，黑龙江省青年美术书法家协会副主席。1984年毕业留校，在哈师大美术系任教。书法受业于游寿、周齐先生，篆刻受业于刘江、吴颐人先生，绘画受业于晁楣、贾平西先生。书法作品曾参加首届国际青年书法展览，入选全国第六届书法展，提名入选全国第六届中青展。篆刻作品入展西泠印社第四届篆刻作品评展，入选西泠印社第二届国际篆刻书法作品大展。中国画《秋韵双蝶》在第十四届当代中国花鸟画大展中获二等奖。多次在日本、韩国、新加坡、俄罗斯及台湾、香港、澳门举办书画篆刻展览。
致力于历史学、古文字学及艺术理论研究，发表学术论文100余篇。著有《文心雕虫》《王立民书法艺术》《王立民印稿》《王立民画集》《王立民书法集》《王立民书画集》，合著《近现代书法史》《大学书法教程》。主编《游寿书法集》及首次出版的中国最北部摩崖刻石《北魏嘎仙洞西壁摩崖刻石》。香港大学陈亚飞先生评价王立民的研究“体现了上世纪90年代以来对李瑞清研究最重要的成果”(详见2005年《书法研究》上发表的《李瑞清书法研究的回顾与检讨》一文)；中国书协学术委员会副主任周俊杰先生则在《王立民书法集》序中强调：“作为具有思想深度的历史学家和作为具有创造力的书法家的王立民同样都是我们这个时代的骄傲。”
Wang Limin was born in Harbin in December 1957, his literary name is Liming, style name Wuliang, and he also uses Hongshou and Mugong as alternative names.
Limin’s ancestral home is Penglai in Shandong province. He graduated with an undergraduate degree in Economics from the Department of Politics, Harbin Normal University. Wang then studied for a postgraduate qualification in Chinese classical literature from the College of Literature and Journalism, Heilongjiang University.
He was then appointed as Deputy Director of the Heilongjiang Provincial Department of Culture. He also worked as Vice-Chairman of the Heilongjiang Provincial Writers’ Association, Vice-Chairman of the Heilongjiang Provincial Literature and Arts Association, and Vice-Chairman of the Heilongjiang Provincial Calligraphers’ Association.
Wang Limin is currently a National First-Grade Artist, a member of many associations such as the China Writers’ Association, the China Artists’ Association, the Academic Committee of the China Calligraphers’ Association and the Xiling Seal Cutting Society, China; the Book of Odes and Hymns Association and the China Han Dynasty Pictorial Bricks Research Institute.
Wang Limin began his study of calligraphy and painting in his childhood. After graduating from high school in 1975, he was sent to a farm on the undeveloped Sanjiang plain in Heilongjiang province under the policy requiring educated youth to work in and enhance the countryside. In late 1978, when the ‘educated youth’ returned to the cities, Wang was able to return to his hometown of Harbin, finding work in the Hexing Department Store.
With his professional ability in art recognized, he became an art worker responsible for advertisements and window design for the store. In 1980 he was admitted to Harbin Normal University. Whilst studying for his undergraduate degree, he was elected the first Chairman of the Heilongjiang Universities Student Calligraphers’ Association and the Vice-Chairman of the Heilongjiang Youth Artists and Calligraphers’ Association. Following graduation from the University in 1984, he became a Lecturer in the Department of Fine Arts, Harbin Normal University.
In his study of calligraphy Wang Limin follows the work of You Shou and Zhou Qi; in his seal cutting he follows the work of Liu Jiang and Wu Yiren. Wang also studied painting under the guidance of Chao Mei and Jia Pingxi. Examples of Wang’s calligraphy were shown in the First International Exhibition of Youth Calligraphy and he was included in the Sixth National Exhibition of Works Created by Young and Middle Aged Calligraphers. Examples of his seal cutting were shown in the Fourth Exhibition of Seal Cutting and the Second International Exhibition of Seal Cutting and Calligraphy held by the Xiling Seal Cutting Society. His Chinese painting Double Butterflies in Autumn was awarded the second prize in the 14th National Exhibition of Modern Flower and Bird Painting. His ink paintings and examples of his calligraphy have been exhibited in Japan, Korea, Singapore, Russian, Taiwan, Hong Kong and Macao.
Wang Limin devotes himself to history, to the ancient scripts and the study of art theory. He has published more than 100 academic papers. He is the author of The Literary Heart and the Carving of Worms, Wang Limin ‘s Art of Calligraphy, Seal Cuttings by Wang Limin , Wang Limin’s Paintings and Wang Limin’s Calligraphy. He was the co-author of the book A History of Modern Calligraphy and University Calligraphy Teaching. He was the chief editor for the book A Collection of You Shou’s Calligraphy and the Northern Wei Dynasty Gaxian Cave West Cliff Carving Stone, the first publication on the subject of the most northerly part of this cliff in China. Chen Yafei of Hong Kong University commented: Wang Limin’s work shows the most important achievements in the research into Li Ruiqing’s work since the 1990s, more information can be found in the paper with the title Revaluation and Discussion in the research into Li Ruiqing’s calligraphy within the Calligraphy Research Journal for 2005. In the foreword to Wang Limin’s Calligraphy, Zhou Junjie, the Vice-Chairman of The Academic Association for Chinese Calligraphy, emphasized that Wang Limin is a thoughtful historian and a creative calligrapher, someone worthy of respect in this period of time.
