馬黎

自2017年8月14日閉館提升改造315天之后，6月25日下午1時(shí)半，良渚博物院重新開館。

良渚博物院前身是1994年建成的良渚文化博物館，2008年9月新館建成開放，占地面積4萬平方米，建筑面積1萬平方米，其中展廳面積4000平方米，是一座良渚文化專題類博物館，也是余杭最重要的文化地標(biāo)和對外展示窗口之一。

良渚博物院是10年前開館的，也就是說，它的基本陳列展示出的，僅僅是2008年之前對良渚古城的考古認(rèn)識。而最近這十年，恰是良渚古城考古發(fā)現(xiàn)最多、理念革新并且國際影響力和知名度越來越高的十年。

原本博物院的展廳分為常設(shè)展和臨展廳。而這一次改造的重點(diǎn)，就是三大展廳的常設(shè)展，展廳位置沒變，但主題和內(nèi)容全部更新。從數(shù)字上最容易看出變化。2008年前，良渚博物院的常設(shè)展展品共400多件（組），這次重新開館后，展品達(dá)到了600多件（組），新增的展品包括鐘家港、葡萄畈、美人地等遺址的近200件陶器、動(dòng)植物標(biāo)本，以及后楊村、文家山、卞家山出土的玉器，比如琮、璧、錐形器、魚鉤。其中，鐘家港的良渚先民頭蓋骨、鐘家港的魚鉤，都是重新開館后首次展出。特別值得一提的是，這次新增的展品中，除了良渚博物院藏品外，有一百多件來自浙江省文物考古研究所的珍藏，且都是最近10年的考古新發(fā)現(xiàn)。

筆者專訪了本次良渚博物院總策展人、復(fù)旦大學(xué)文物與博物館學(xué)系教授高蒙河，他帶著筆者探營新展廳。

展廳光線更亮堂，展柜玻璃不影響拍照

所有人一進(jìn)博物院的第一感受：明亮，眼睛非常舒服。

前段時(shí)間，很多人在討論博物館究竟需要什么樣的光線照明。良渚博物院這次作了一個(gè)示范，也是此次提升改造的一大變化。

“很多人認(rèn)為古部落、原始人是很落后的，所以燈光效果都做得黑黢黢的，搞得很神秘。實(shí)際上，我們的良渚文明已經(jīng)進(jìn)入了文明時(shí)代，我們想追求一種亮亮堂堂的展示效果，這也符合現(xiàn)在國際博物館的展覽模式。”高蒙河說。

展廳里所有的燈光照明都可以調(diào)節(jié)，有三級調(diào)試效果，既能調(diào)出暖光，也能調(diào)出冷光。

可能你會(huì)問，這么亮的燈光難道不會(huì)對文物造成影響嗎？

高蒙河解釋：“我們的文物基本都不是有機(jī)質(zhì)的文物，不是書畫，也不是絲織品，多是無機(jī)物，陶器、玉器不怕燈光。而因?yàn)橛衿鞅容^小，又會(huì)用到特殊照明燈，盡量用一些射燈去展現(xiàn)。”

這次600多件（組）文物所用的展柜，用的是低反射玻璃，你走近它的時(shí)候，不太能看到自己的影子，也就是說，拍照的時(shí)候，不用怕有反光。尤其是玉器展廳的四個(gè)獨(dú)立展柜，啟用了目前國際先進(jìn)的德國“漢氏柜”，大英博物館、美國大都會(huì)博物館、埃及國家博物館一些珍貴的藏品，都用到了它。

這次良渚博物院的四只“漢氏柜”，單獨(dú)為良渚玉器的“三大件”琮、璧、鉞打造，兩位德國技術(shù)人員手工安裝，一個(gè)展柜裝了一個(gè)禮拜。

在展廳中，你到處都能看到英語翻譯。而以前，我們會(huì)在重要的單元說明和標(biāo)題上有翻譯，但這次基本上做到能翻譯的地方盡量都使用雙語系統(tǒng)，這是在展覽傳播上的一種新嘗試。

所有的前言和結(jié)語，專家經(jīng)過了不下十次的反復(fù)討論，每一個(gè)標(biāo)點(diǎn)符號都經(jīng)過斟酌，甚至有一些英文翻譯，到底應(yīng)該用什么詞，比如“城市”這個(gè)詞，有很多翻譯，最后用的是urban。高蒙河說，這是借助了很多國內(nèi)考古、英文權(quán)威專家的力量，經(jīng)過了多位翻譯專家的討論、校對，最后才確定的。

3D加投影技術(shù)，黑科技“復(fù)活”展品

展館內(nèi)最重要的內(nèi)容當(dāng)然是展品。

高蒙河說，經(jīng)過了十年的考古發(fā)現(xiàn)，不但搞清了良渚古城的格局、功能、屬性，甚至還發(fā)現(xiàn)了外圍大型水利系統(tǒng)。所以，這次展覽是良渚考古80年、特別是最近十年考古成果的一次集大成展覽，而且是良渚考古發(fā)現(xiàn)第一時(shí)間、第一手資料的展示。

而三大展廳常設(shè)展的主題就是：良渚遺址是實(shí)證中華五千年文明史的圣地。

這句話，就刻在了大廳迎面而來的大照壁上，簡潔，有力。

“良渚文明這個(gè)結(jié)論，上次展覽我們還不敢完全坐實(shí)，那時(shí)主要展示的是良渚文化，現(xiàn)在已經(jīng)坐實(shí)了。坐實(shí)的意思是什么？一個(gè)是良渚古城的格局和功能，我們都搞清楚了；另一個(gè)是發(fā)現(xiàn)了大型的外圍水利系統(tǒng)。正是因?yàn)橛辛诉@兩個(gè)重大發(fā)現(xiàn)，我們敢說，良渚遺址不但實(shí)證了中華五千年文明，也是實(shí)證中華五千年文明史的具有突出普遍價(jià)值的典型遺址，我們現(xiàn)在叫‘圣地?！?/p>

高蒙河說，現(xiàn)在這三個(gè)展廳，是這十年的研究成果，是用事實(shí)來說話。

事實(shí)是什么？是物。良渚遺址的“物”有兩種。一種是包括古城水利系統(tǒng)這樣遺跡性質(zhì)的，通過遺址現(xiàn)場的照片和模型來展示。另一種就是具體的實(shí)物。良渚遺址目前出土的陶器、玉器、石器、骨器、漆器等，都作了全方位的展示。

除了用物說話，要細(xì)致了解五千年前的良渚人的生活，還需要大量輔助設(shè)備，而這次重新開館甚至還用上了黑科技。

很多人對良渚墓葬有興趣，但墓地沒法搬到展廳里。在博物院的“良渚古城”展廳里，筆者看到反山王陵9個(gè)墓葬，以及墓葬里的器物——微縮版，十分逼真，細(xì)節(jié)無差。

這項(xiàng)目前國際很流行的3D打印技術(shù)，在新的展廳里大量用到，包括墓地、宮殿區(qū)、作坊區(qū)，這在目前國內(nèi)博物館的展陳中很少見。

而現(xiàn)在戲劇圈很流行的沉浸式體驗(yàn)，也用在了展廳里。這番沉浸式體驗(yàn)，來自一塊墻皮。這不是一塊普通的墻皮，它被布展在了“良渚古城”展廳的展墻上，4米×3米，是從良渚古城北城墻遺址上切下來的剖面。

筆者剛要轉(zhuǎn)頭去看其他文物，這塊墻皮忽然“動(dòng)”了。

原來展廳頂上有個(gè)大型多媒體投影機(jī)關(guān)，良渚古城的形成過程，古城墻是如何一步一步演變而來的，投影在了五千多年前的古城墻皮上。墻皮是靜態(tài)性的還原，多媒體是影像式的還原，兩者結(jié)合，動(dòng)靜呼應(yīng)，有一種時(shí)空穿越之感。高蒙河說，過去沒用過這種手段，是全新觀感體驗(yàn)的設(shè)計(jì)。

The Liangzhu Museum in the northwestern suburb of Hangzhou shut down on August 14， 2017 for a major upgrade project. At one thirty on the afternoon of June 25th， 2018， it reopened in style to the general public. It offers an unprecedented insight into the 5，000 years of the Chinese civilization.

The predecessor of the museum was the Liangzhu Culture Museum constructed in 1994. In September 2008， it was upgraded to Liangzhu Museum with a built-up space of 10，000 square meters in an area of 40，000 square meters. It was designed to display the conclusions based upon unearthed objects. However， the last decade has witnessed archaeological breakthroughs in Liangzhu and redefined Liangzhu and put it on the map of the archaeological world.

The museum now has three halls for permanent exhibition and one hall for temporary exhibition. Before 2008， over 400 pieces and/or sets were on display in the permanent section. After the latest upgrade， the permanent exhibition zone has expanded to display 600 pieces and/or sets， including pottery， animal and plant specimens， jade pieces， skulls， and fishhooks， which had never been exhibited before. Of the additional pieces， over 100 are from a collection of Zhejiang Provincial Institute of Cultural Relics and Archaeology. They are all from excavation projects done in the last ten years.

Mr. Gao Menghe， a professor of Fudan University based in Shanghai and exhibition director of the museum， enlightened me on the upgrading project of the museum.

The first impression I got after stepping into the exhibition space was that lighting was good and comfortable. The Liangzhu Museum offers an excellent example of how a museum should organize its lighting system. Some people assume ancient tribes and primitive humans were so backward that exhibition halls of today should keep themselves in dark to deliver this effect. Archaeologists engaged in the Liangzhu Project agree that Liangzhu was part of the early Chinese civilization， which must be displayed in bright and august light.

No， bright lights will do no harm on exhibits as most exhibits are inorganic such as pottery and jade pieces.

The 600-plus exhibits are installed in display cases of glass with a low-reflective coating. That is， if you step close to a glass case， you can hardly see your reflection in the glass and if you take a photo， the glass gives back no reflection at all. In the Jade Exhibition Section are four standalone display cases custom-made for the Liangzhu Museum by Glasbau Hahn based in Germany. They were especially made for the large-size jade pieces of Liangzhu. It took two Germany specialists a whole week to install just one display case.

The museum now has bilingual texts： in both Chinese and English. In the previous incarnation of the museum， only titles and some key sections presented some English translations. This time around， nearly all the texts are in Chinese and English. It is a new effort to make Liangzhu better understood by the world. Archaeologists and translators worked together and held more than ten rounds of discussions and many rounds of proofreading and checking before the English versions for all the introductions and concluding remarks were finalized.

The three permanent halls focus on one theme： the archaeological sites of Liangzhu convincingly corroborate that Chinese civilization started more than 5，000 years ago.

“Ten years ago， we were not completely certain about the role Liangzhu played in the Chinese Civilization. So we confined ourselves to the Liangzhu Culture. This time， we have full and solid and sound evidence. We have found the ancient city of Liangzhu and ascertained its structure and functions. We have found a colossal perimeter hydraulic system that protected the city from floods. Thanks to these two significant discoveries， now we are absolutely convinced that the city and the waterway system constitute a typical site that firmly corroborates the 5，000 years of the Chinese civilization， and that they are of outstanding value and universal significance. We now refer to Liangzhu as a sacred place，” enthused Professor Gao.

The three exhibition halls display the artifacts unearthed in the studies of the past ten years. The facts of Liangzhu fall into two categories： facts about the ancient city and the waterway system are displayed indirectly through photos and miniaturized models； and facts about smaller objects such as unearthed artifacts such as pottery， jades， stones， bones， and lacquer work are presented directly.

The museum employs some high tech means to restore the life scenes of our ancestors living in Liangzhu. Burial objects unearthed from the nine royal tombs at Fanshan were recreated with the 3D printing technology. A 12-m2 surface coating from the city wall is displayed in an exhibition hall. A ceiling multi-media projector cast images on the coating to visualize how the city wall evolved step by step.