文本刊記者 陳思靜

胡人備馬圖Barbarians and horses

在中國(guó)歷史的廣袤蒼穹中，大唐是極為璀璨的星辰。那里不僅有催馬戰(zhàn)猶酣的瀟灑英姿，持戈衛(wèi)社稷的壯懷激烈，也有長(zhǎng)安水邊多麗人的宜人風(fēng)景，萬(wàn)國(guó)衣冠拜冕旒的昂揚(yáng)氣象，匯集四方奇風(fēng)異俗的博大胸懷，呈現(xiàn)出雍容華貴與文明開放的恢弘氣象。9月4日至11月3日，在中國(guó)國(guó)家博物館舉行的“大唐風(fēng)華”展覽，從陜西歷年出土的文物中精心甄選能夠代表盛唐發(fā)展水平的代表性物證，從文化、生活、藝術(shù)、中外交流及宗教信仰等諸多方面，全方位、立體化地展現(xiàn)了盛世大唐的絕代風(fēng)華。

“今年以來(lái)，中國(guó)國(guó)家博物館本著不求所藏、但求所展，開放合作、互利共贏的基本理念，積極主動(dòng)加強(qiáng)與地方文博機(jī)構(gòu)交流合作，共同推出地方古代精品文物展覽系列?！敝袊?guó)國(guó)家博物館副館長(zhǎng)陳成軍介紹，此次展覽由中國(guó)國(guó)家博物館與陜西省委宣傳部、陜西省文物局聯(lián)合主辦，陜西歷史博物館承辦，陜西省考古研究院、法門寺博物館、西安博物院、西安碑林博物館、昭陵博物館、乾陵博物館、西安市文物保護(hù)考古研究院、長(zhǎng)武縣博物館等9家兄弟文博單位共同協(xié)辦，是中國(guó)國(guó)家博物館攜手地方共同舉辦古代精品文物系列展覽的又一重要成果。

展覽分為“文武安天下”“皇室的珍寶”“長(zhǎng)安多麗人”“騎獵散歌塵”“大唐異鄉(xiāng)客”“學(xué)理共歸真”6個(gè)部分，匯集近120件（套）唐代精品文物。文物數(shù)量雖然不是特別多，但是文物從陜西運(yùn)到國(guó)博時(shí)一共裝了22個(gè)箱子，遠(yuǎn)遠(yuǎn)超過(guò)了過(guò)去一般文物展覽裝箱的數(shù)量?！耙?yàn)檫@些文物里有10幅壁畫、 7塊墓志，這類文物過(guò)去一般很少出展。由此可以看出策展人對(duì)唐代文物新的認(rèn)識(shí)和新的考量?！标兾鳉v史博物館文物保管部副部長(zhǎng)賀達(dá)炘說(shuō)。

唐代文物展覽一直是博物館展覽的重要題材之一，除了中國(guó)國(guó)家博物館、陜西歷史博物館和河南博物院通史陳列中的隋唐部分以外，國(guó)內(nèi)外博物館每年都會(huì)舉辦主題不同的專題展覽。這些展覽豐富著觀眾對(duì)唐代藝術(shù)、文化和歷史的認(rèn)知，也使唐代文物逐漸為人們所熟悉。因此，中國(guó)國(guó)家博物館策展人趙永在策劃時(shí)有一些新的考慮：“從內(nèi)容上，因?yàn)檎褂[并不能完全展現(xiàn)一個(gè)時(shí)代全部的原貌，所以基本上展現(xiàn)唐代幾個(gè)重要的方面，并盡量對(duì)文物的內(nèi)涵有更豐富的闡釋，使它更切入主題。在形式上以壁畫和墓志為中心和線索，配合相關(guān)的文物展出?！?/p>

展覽的第一部分，策展團(tuán)隊(duì)以馬璘墓志、唐儉墓志配合相應(yīng)的文官俑與武官俑等相關(guān)文物來(lái)表現(xiàn)文臣武將的風(fēng)采；在第二部分，用何家村窖藏一組表現(xiàn)煉丹的金銀器，以及法門寺地宮一組茶具和熏香的金銀器來(lái)表現(xiàn)“皇室的珍寶”的概念?！斑@批金銀器雖然有不同的解讀，但是很大程度上是和皇家有關(guān)系的，包括法門寺出土的金銀器上有篆刻的銘文，很清楚地顯示這是當(dāng)時(shí)皇帝供奉給法門寺的。”趙永解釋，“而何家村窖藏不管是和邠王府有關(guān)，還是和租庸使劉震有關(guān)，還是最近林梅村老師所說(shuō)的和大明宮瓊林庫(kù)寶藏有關(guān)，它和皇室都是有關(guān)系的，所以我們把這些組合在一起，配合地方官員進(jìn)奉的銀盤、銀盒、銀鋌等器物，作為一個(gè)主題來(lái)單獨(dú)展示。從這個(gè)角度來(lái)講，既展示了當(dāng)時(shí)的金銀工藝技術(shù)，又展示了當(dāng)時(shí)宮廷奢華的生活。”

此外，展覽中許多精品文物還是首次出館展出，如陜西歷史博物館韓休墓的《高士圖》《武惠妃敬陵壁畫》，西安碑林博物館的《蘇諒妻馬氏墓志》《米繼芬墓志》，中國(guó)國(guó)家博物館的智藏禪師舍利函具等。

極盡工巧的何家村窖藏和法門寺地宮珍寶，展現(xiàn)唐代時(shí)尚風(fēng)俗的壁上丹青和勒銘存記的墓志，表現(xiàn)胡風(fēng)漢俗的三彩陶俑和多元共存的宗教文物，莫不精美絕倫，不僅凝聚著那個(gè)時(shí)代的珍貴記憶，而且已經(jīng)成為中華民族文化基因的重要組成部分?！疤拼侵袊?guó)歷史上最為強(qiáng)盛，最具活力，也是最為開放包容的時(shí)代之一，它在政治、文化、藝術(shù)等很多方面都對(duì)后世產(chǎn)生了很大的影響，成為我們中華民族文化基因中的一部分。希望通過(guò)此次展覽，通過(guò)對(duì)歷史的回顧，既能夠了解大唐的風(fēng)采，也能夠啟發(fā)我們對(duì)未來(lái)的一種思考?！标兾鳉v史博物館副館長(zhǎng)程旭說(shuō)。

彩繪陶文官俑Painting pottery officials

彩繪黑人立俑Painted black standing figure

In the vastness of Chinese history, the great Tang Dynasty is like an extremely stunning star, which not only shows a rush of heroic warfare, the enthusiasm of soldiers,but also the pleasant scenery of beauties at the waterfront of Chang'an, the high-spirited atmosphere of the world's worships and the broad-mindedness of embracing the whole world, presenting a graceful, luxurious and open civilization.From September 4thto November 3rd, the "Glory of Great Tang" exhibition, held at the National Museum of China, has selected the representative materials that can represent the development level of the Tang Dynasty from the cultural relics unearthed in Shaanxi and showcased the glory of Tang Dynasty in an all-round and three-dimensional manner from culture, life, art, Chinese and foreign exchanges and religious beliefs and other aspects.

"Since this year, the National Museum of China has been pursuing the basic concepts of focusing on exhibition rather than exhibits, open cooperation and mutual benefit,proactively promoting exchanges and cooperation with local cultural institutions, and jointly launching a series of exhibitions concerning the local ancient fine cultural relics,"said CHEN Chengjun, deputy-director of the National Museum of China. According to him, the exhibition was jointly organized by the National Museum of China, the Publicity Department of Shaanxi Provincial Party Committee and the Shaanxi Provincial Cultural Relics Bureau. It was hosted by the Shaanxi History Museum, with assistance from nine peers nationwide, including Shaanxi Provincial Institute of Archaeology, Famen Temple Museum, Xi'an Museum, Xi'an Forest of Steles Museum, the Zhao Temple Museum, the Qian Temple Museum, the Xi'an Cultural Relics and Archaeology Research Institute, and the Changwu County Museum.

The exhibition is divided into six parts: " Establishment of Nation", "Royal Treasures", "Beauties of Chang'an", "Riding and Hunting Songs", "Foreigners of Tang Dynasty" and"Science and Reunification", collecting nearly 120 pieces(sets) of boutique cultural relics of Tang Dynasty. Although the number of cultural relics is not particularly large, the cultural relics have been loaded with 22 boxes from Shaanxi to the National Museum of China, far exceeding the number of general cultural relics in the past. "Because there are 10 murals and 7 epitaphs in these cultural relics, which have rarely been exhibited in the past. It shows the curator's new understanding and considerations of the Tang Dynasty relics,"said HE Daxin, deputy-director of Cultural Relics Protection Division of Shaanxi History Museum.

The Tang Dynasty cultural relics exhibition has always been one of the important subjects of museum exhibitions.In addition to the parts of Sui and Tang Dynasties in the National Museum of China, the Shaanxi History Museum and the Henan Museum, the museums at home and abroad hold different thematic exhibitions each year. These exhibitions have enriched the audience's understanding of the art,culture and history of the Tang Dynasty, and made the cultural relics of the Tang Dynasty gradually familiar amongst people. Therefore, ZHAO Yong, curator of the National Museum of China, has some new considerations in planning: "From the perspective of content, as the exhibition cannot fully reveal the original appearance of an era, it basically shows several important aspects of the Tang Dynasty, endeavoring to have a more abundant interpretation of the connotation of the cultural relics, so that it is more related to the theme. In the aspect of form, it focuses on murals,epitaphs and clues in connection with related cultural relics."

彩繪貼金騎馬俑Painted gold horse-riding figures

In the first part of the exhibition, the curatorial team used the epitaph of Ma Rong and that of Tang Jian to combine with the corresponding tomb figures of civil and military officials and related cultural relics to express the glory of these figures. In the second part, it employed a group of gold and silver wares to express alchemy by collection unearthed at Hejia Village, and also a set of tea sets and incense sticks of gold and silver in the Famen Temple to express the concept of"Royal Treasure"."There are different interpretations of these gold and silver wares, but it is largely related to the royal family. There are engraved inscriptions on the gold and silver vessels unearthed at Famen Temple, which is very clear that this was the emperor's offering to the Temple," Zhao Yong explained. "Whether the collection of Hejia Village is related to the Bin Mansion, or related to the official LIU Zhen, or concerning the collection of Qionglin Storage of palace of Ming Dynasty recently mentioned by professor LIN Meicun, it bears a relationship with the royal family, so we put these collection combined with the silver plate, box, enamel and other utensils that local officials have put in as a themed exhibition to show to the public separately.From this point of view, it shows the gold and silver craftsmanship at that time, and also luxury life in court."

In addition, many of the fine cultural relics in the exhibition were exhibited for the first time, such as the Scroll of Gentlemen from HAN Xiu's Tomb of the Shaanxi History Museum, the murals on the Jing Ling Tomb of Tang Dynasty's Concubine Wuhui, the Ma's Epitaph, wife of SU Liang of the Xi'an Forest of Steles Museum, the MI Jifen's epitaph, and the relics box of Buddhist Master Zhicang of the National Museum of China amongst others.

The extremely exquisite workmanship of Hejia Village relics and the palace treasures of Famen Temple, the epitaphs and murals demonstrating Tang Dynasty's fashion customs, the three-colored pottery and the diversified religious relics of barbarians and Han nationalities are so exquisite beyond comparison, not only condensing the precious memories of that era, but also becoming an important part of the cultural genes of the Chinese nation.

"The Tang Dynasty is the most powerful, dynamic and one of the most open and inclusive periods in China's history. It has exerted great influence on later generations in many aspects, such as politics,culture and art, becoming the cultural gene of our Chinese nation. I hope that through this exhibition and the review of history, we can not only understand the greatness of Tang Dynasty, but also inspire us to think about the future," CHENG Xu, deputy director of Shaanxi History Museum said.

捧盒男裝侍女圖Maids in man's clothing holding boxes

捧包裹侍女圖Maid holding parcels

鎏金臥龜蓮花紋五足朵帶銀熏爐及爐臺(tái)（局部）Gilt turtle-lotus-pattern five-feet silver oven and stove (Partial)