山東省膠州市三里河遺址的發(fā)現(xiàn)是1961年。當時在山東大學歷史系教書的劉敦愿先生看到了一幅古畫，為高鳳翰作品的摹本，畫中一束鮮荷栽植在一件史前時期的陶里，其旁有一首小詩，其中兩句為“田夫掘出說前朝，老夫拾來插瓶供”。陶是遠古時代用作燒水或盛水的器具，造形似鳥。劉先生是山大考古專業(yè)的奠基人，對山東史前的歷史和文物知根知底，畫上的陶和題詩引起了他的思索: 高鳳翰出身于膠州，病退后回原籍三里河故居生活，田夫掘出的陶應在高鳳翰居處附近，莫非那里有一處古代遺址。帶著這個猜測，劉先生去膠州進行了考察，果真在那里找到了一處極為重要的史前時期文化遺址。這就是膠州三里河遺址。
　　遺址在今膠州市城南三里河村前的一塊高土臺地上，面積約5萬平方米。1974年和1975年中國社科院考古研究所聯(lián)合山東有關文物部門在這里進行了兩次考古發(fā)掘，共發(fā)掘了1500余平方米的面積，出土了大量的史前大汶口和龍山時代的文物，統(tǒng)計的數(shù)量多達1200余件；還采集了許多與遠古人生活、喪葬有關的重要信息，其中房址5座，墓葬164座。這次發(fā)掘的意義在于，首次明確了大汶口文化和龍山文化之間的傳承關系。因為在此之前，人們雖然朦朧地意識到大汶口文化有別于龍山文化的跡象，但苦于無明確的可證資料，三里河遺址和與此同時發(fā)現(xiàn)的日照東海峪、諸城呈子等遺址，以十分鮮明的地層關系和實物資料，證明了大汶口文化早于龍山文化，龍山文化是由大汶口文化發(fā)展而來的，兩者關系的明確，把山東地區(qū)遠古文化的序列串連了起來，郁積多年的歷史問題也得以明朗化。
　　在僅發(fā)掘的千余平方米的土層中，可隨時發(fā)現(xiàn)豬的蹤跡。發(fā)現(xiàn)的66座大汶口文化墓葬中有18座出土了豬的下頜骨，發(fā)現(xiàn)的98座龍山文化墓葬中的19座出土了豬的下頜骨，累積的豬下頜骨數(shù)量多達214塊。不僅如此，在屬于大汶口文化的一個口徑只有80厘米的小坑內(nèi)發(fā)現(xiàn)了5頭完整的小豬的骨架。
　　今人和遠古人對豬的感情已大不相同。在距今5000年上下的大汶口時期，豬有著某種尊寵的地位，上面提到的埋在坑內(nèi)的5頭小豬和一頭大豬，可能蘊涵著一些原始宗教的情感。不僅如此，豬甚至還是財富的象征。在已經(jīng)發(fā)掘的史前墓葬中，我們發(fā)現(xiàn)以豬下頜骨或豬頭來隨葬的不是權(quán)貴就是富人，一般平民應該是沒有豬的。因為豬是財富，因此其數(shù)量越多，主人就越顯貴；三里河遺址中，單座墓葬最多的隨葬了豬下頜骨37塊。在章丘大汶口遺址中，單座墓葬最多的隨葬了豬頭骨14具。
　　遺址中還發(fā)現(xiàn)一件別致的豬的“雕塑品”，人稱陶“豬”，用途與高鳳翰作品上的陶一樣，只不過在的下部作成豬的模樣，形象至極：四肢蜷曲，很愜意地作匍匐狀，短尾上翹，俏皮可愛，小耳前撲，稍稍遮擋著眼睛，拱嘴兩側(cè)獠牙外露，其憨態(tài)可掬。一件普通的生活用品，便看出了三里河人對豬的喜愛之情溢于“言表”。
　　當然，史前時期的豬，也不是金貴得不能吃。豬的主要作用依然是服務于人的胃口，這也是刺激養(yǎng)豬業(yè)發(fā)達的動力之一。養(yǎng)豬業(yè)的發(fā)展，反映了很多的社會問題，最起碼的是人們必須有剩余的糧食來圈養(yǎng)豬。三里河遺址里發(fā)現(xiàn)了一座裝糧食的房子，發(fā)掘者很形象地稱之為“糧庫”，糧食雖然已經(jīng)炭化，但至今依然保存了1.2個立方米的體積。這些信息告訴我們：5000年前的三里河人早已擺脫了食不果腹的原始狀態(tài)，過上了安定的農(nóng)業(yè)生活，不但能為自己儲存糧食，還有可能給豬分食一部分。人與多數(shù)量的豬共享糧食，在遠古時代是件了不起的事情。
　　生活富裕了的人們自然忘不了要追悼一下自己的祖先，希望從祖先們那里為自己祈福，讓自己的幸福生活繼續(xù)下去，于是對祖先和神靈的崇拜發(fā)展起來。在三里河遺址中還發(fā)現(xiàn)了兩處特別引人關注的龍山時期祭祀建筑：一處是長90厘米、寬60厘米的長方形地面，面上用20多塊大小均勻的鵝卵石鋪成，其旁有一具完整的狗骨架；另一處是一個直徑為120厘米的圓坑，坑底部和坑壁經(jīng)過了精心而復雜的加工，最后還在底部鋪了一層鵝卵石。這兩處祭祀建筑均挨近某一個或一組墓葬，研究者推測這些建筑原是后人祭祀自己祖先時所用的設施。這似乎讓今人找到了祭祖的源頭。不過，這些不能說話的“建筑”，并不能讓今人解讀當時祭祀者的表情和心理，更難以說出他們?nèi)绱藰?gòu)建的理由，我們只能像天書一樣揣測和想象他們的虔誠和祭場的神秘。
　　
　　The Sanlihe Cultural Relics Site in Jiaozhou City, Shandong Province, was discovered in 1961. At that time, Liu Dunyuan, a professor of the History Department of Shandong University saw an ancient painting, which was a reproduction of Gao Fenghan’s works. In the painting, a fresh lotus was planted in a pre-historic pottery gui. Besides the gui was a poem, which explained that “The farmer who excavated this vessel said it was made during pre-historic times, so I use it to plant lotus.”
　　The gui has a bird-like shape and is a kind of vessel with three legs used to hold water or cook food in ancient times. Professor Liu, father of the archaeology major at Shandong University, knew much about the pre-historic cultural relics of Shandong Province. So, the painting of the earthenware gui and the poem attracted his attention.
　　Gao Fenghan was born in Jiaozhou. After he retired from his official post due to illness, he went back to his former residence in Sanlihe. So, the site where the farmer excavated the pottery gui must have been near the residence of Gao Fenghan and could well be a site containing many other cultural relics. Based on this speculation, Mr. Liu went to Jiaozhou for an on-the-spot investigation and thus became the first to discover the Sanlihe Cultural Relics Site.
　　This SCRS covers an area of 50,000 square meters and is located in a rising earth stage in Sanlihe Village just to the south of the present day Jiaozhou City. In 1974 and 1975, various members from the Archaeology Institute of the Chinese Academy of Social Sciences and the Historic and Cultural Relics Department of Shandong Province undertook archaeological excavations twice at this site. By excavating an area of more than 1500 square meters, more than 1200 fragments of pre-historic cultural relics of the Dawenkou and Longshan periods were unearthed. From the five homes and 164 tombs discovered to date, much important information concerning the residential and burial habits of ancient people was gleaned.
　　In several layers of excavated earth, traces of pigs were found in abundance. Among 66 tombs that belonged to the Daweniou Culture period, the lower jaw bones of pigs were found in 18 tombs. Among the 98 tombs that belonged to the Longshan Culture period, the lower jaw bones of pigs were found in 19 tombs. Altogether, 214 pieces of lower jaw bones of pigs were discovered. Moreover, in a pit with a width of only 80 centimeters, five entire pig skeletons were discovered.
　　At this same site, an elegant “pottery sculpture” was also discovered, so it was dubbed the “Pig Gui” by local people. It has the same function as the pottery gui, the only difference being that the lower part of the “Pig Gui” is made in the shape of a pig. By shrinking the proportions of the four legs, the unknown potter enabled his “pig” to lie comfortably on the ground. His tail rises upward and his ears extend forward, slightly hiding the eyes, while the teeth of the “pig” are clearly visible. Thus, an ordinary “l(fā)iving utensil” reflects the Sanlihe people’s love of pigs.
　　At the Sanlihe Cultural Relics Site, two rather unique constructions especially attracted attention from archaeologists and locals alike. One is a piece of rectangular land with length of 90 centimeters and width of 60 centimeters, the surface of which is covered with cobblestones. Discovered beside it was the buried body of a dog. Another site is a round pit with a diameter of 120 centimeters. Both the pit bottom and wall were carefully processed and lined with stones. The most probable explanation is that these two sites were constructed by ancient people as altars to offer sacrifices to their ancestors.

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