“馬王堆漢墓”中英雙語導(dǎo)游詞

(馬王堆漢墓)

Hello, friends.

Welcome to the exhibition for unearthed artifacts from the Mawangdui Han Tombs in Changsha. The Han Tombs of Mawangdui are located at the former Mawangdui Township in the eastern part of Changsha City, about four kilometers outside of the city's downtown. On the even ground, there are two earth tombs connected in the middle, protruding abruptly, with a shape similar to a saddle. Legend goes that here was the burial ground of Ma Yin, king of Chu State of Five Dynasties period, hence the name “Mawangdui”, or the Tomb of King Ma. But as was written in the Records of a Peaceful World——Changsha County, during the Northern Song Dynasty, this place was called “Two Ladies' Tomb (Shuangnüzhong)”, where King Liu Fa of Changsha State of the early Western Han Dynasty buried his mother Cheng and consort Tang. Who on earth is the true occupant of his mysterious ancient tomb of Mawangdui? It had been an enigma for a thousand years before the tomb was unearthed.

At the end of 1971, 366 Hospital of Hunan Province Military Command decided to build its underground warehouses and wards here. This construction necessitated an archeological dig, which unearthed this mysterious thousand year-old underground palace.

Model of Tomb Pits of the Han Tombs of Mawangdui

There are three tombs in Mawangdui, which are coded in No.l, No.2, and No.3 respectively in accordance with their unearthing sequence. Among them, Tombs No. 1 and No. 2 are in parallel with each other from east to west, while Tomb No.3 is to the south side of Tomb No. 1. The mouth of the Tomb No.1 is square, and under it is the tomb pit in the shape of a square filter, which is the typical tomb shape of Western Han Dynasty. The tomb mouth is 19.5 meters long from south to north and 17.8 meters wide from east to west. It is 20.5 meters deep. Four steps and a ramp path north of the tomb from its mouth lead directly down from the ground to the tomb bottom. Over l,800 cultural relics have been unearthed from this tomb, including lacquered wood works, textiles and silk paintings, and a well-preserved woman's corpse. Tomb No. 2's mouth and middle are round while it is square 3 meters downward. Owing to repeated robbery of the tomb and poor sealing of the white seal clay, the whole tomb greatly collapsed and only 200 culture relics remained. Tomb No.3 is the same with Tomb No.1 in shape and well preserved. More than 1000 culture relics were unearthed here, including silk books and paintings, bamboo slips, lacquer wares, and textiles. Unfortunately, the corpse in it was totally rotten and only a skeleton remained. An examination determined that the person buried here was a 1.85 meter tall, 30 years old male.

Jade Seal of “Li Cang”

Through archaeological excavation, we discovered that Mawangdui was the burial ground of an early Western Han Dynasty Marquis family. Judging from the Li Cang jade seal and the Seals of Marquis Dai (bronze seal) and the “Changsha Chancellor” (bronze seal), which were unearthed from Tomb No.2, the occupant of Tomb No.2 should be a first generation member of the Marquis Dai’s family. The Marquis Dai, also named Li Cang, served as Changsha State’s Chancellor. He was born in the late years of Warring States Period and died in the second year of the reign of Empress Dowager Gao (186 B. C.). In his youth, Li Cang followed Liu Bang, the first Emperor of the Han Dynasty, in the peasant uprising and in the battle between Chu and Han States, and made an outstanding contribution to the founding of the Western Han Dynasty Kingdom. In early Han Dynasty, he was promoted to chancellor of Changsha State. He did his best to consolidate the central power and maintain the unification of the country. As recorded in Shi Ji ( History Records) and Han Shu (History of Han Dynasty), he was again promoted to Marquis Dai in April of the second year of the reign of the Han Emperor Hui. Due to his merits, the name Dai was given to a place between present-day Luoshan and Guangshan Counties in Henan Province. His fief town contained 700 households and compares poorly with Cheng Ping and Zhang Liang, who were marquises with fiefs of ten thousand households. But Li Cang had a special position in Changsha State, and so his family enjoyed all the comforts of luxury and pomp, including extravagant funerals after their deaths.

Seal of “Marquise Xinzhui”

Li Cang's wife was buried in Tomb No.1. We know from the unearthed “Marquise Xinzhui” seal. Though as noble as a mar-quise, she experienced great sorrow over the loss of husband when she was relatively young and her son in her late years. She passed away in 163 B. C. at the age of about 50. In accordance with the corpse and the image of Xinzhui on the silk painting, we asked the Xi'an Great Historical Figures Sculpture Research Academy to make a wax statue to restore a middle-age marquise Dai, thus reproducing her original glory and grace.

White-yarn Full Front and Back of a Gown

The white yarn is the undyed yarn, and a gown is a dress without liner. These two dresses weigh 48 and 49 grams, rather than l liang, or 50 grams. If the heavier edges on the collar and sleeves are not counted, its weight was only a little over half a liang. It was really as light as the smoke and mist, and as thin as cicada's wings. Of course, the quality of superior yam materials is not evaluated by the number of voids, but by the fiber size of natural silk, which should be uniform and long. In textiles there is a measurement unit for fiber size, denier, which is equivalent to a single 90,000 meter long silk thread weighing 1 gram. So the smaller the denier, the finer the natural silk. The natural silk size of the white yarn gown was only 10.5 to 11.3, while that of the superior silk fabrics produced now is 14. This demonstrates how fine, light and thin the white yarn is. How did the women in the Han Dynasty wear such a thin dress? They wore such gowns on the bright and beautiful embroidered robes, to make the magnificent decorative patterns on the robes partly hidden and partly visible, thereby displaying a dim beauty.

T -shape Silk Painting of Tomb No.1

This painting had the shape of English character “T”, so we call it T-shape silk painting. As recorded in the inventory of funeral furnishings, it was like a dress but not a dress. When unearthed, it was covering, upside down, the cover of the inner coffin in Tomb No.1. A bamboo rod traversed the top of the painting, and at every droopingg angle were tied silk ribbons or bust-fiber belts. According to textual research, this was an article belonging to flags and streamers. In funeral rites, it was raised high in the head of the funeral procession to guide the spirit to heaven, much like a funeral streamer.

The whole painting was 205 cm long, and could be divided into three parts from up to down, namely the heaven, the human world, and the nether world.

Heaven is over the aureole. In the upper part of the painting, is a god with man's head and snake's body, sitting there with his hair hanging loosely. As recorded in the ancient Chinese geography book Book of Mountains and Seas, the god was the almighty "Zhu Long", who was in charge of the changes of day and night and fine and bad weather. On the right are drawn nine red suns half hidden in the blue mulberry tree. The legend goes that the mulberry tree grew in the East Sea. It was about ten thousand meters tall, and amidst it, the ten suns rested and took turns to be on duty. But in the painting, there were only nine suns, and the other one might be on duty and had not yet returned. In the biggest sun was drawn a black bird called “Jin Wu ( gold crow)” in ancient times. This drawing was in fact based on the ancient people's observation of a sunspot. On the left was a crescent moon, under which, a beautiful girl dances graciously. Some regard her as the moon goddess, who was holding the moon to rise slowly. Some regard her as Chang'e, who was flying to the moon after stealing an elixir from her husband and swallowing it. In the moon, a big, flat toad is holding a glossy ganoderma in its mouth, the Jade Hare is beside it, whose elegance forms a striking contrast with the fat toad. Two janitors are respectfully bowing and scraping by the gate to the Heavenly palace, welcoming the Marchioness into Heaven.

The Human World part took the aureole as the roof, and decorated it with rose finches. Under the aureole, the plump Marchioness in extravagant dresses with jade pendants jingling, slowly steps forward with a stick in her hand. Three personal maids closely follow her. Two alchemists present their elixir to her. Two dragons pass through the wall on both sides of the picture, symbolizing nobility and good luck. The painting below might be the scene in which the servants made sacrifices after the Marchioness' death. They are serious and silent, with their faces grey, showing their excessive distress.

In the nether world, the naked Earth God-Gun supports the flat earth with his hands, and his feet press down on two huge evil sea turtles intent of causing problems on earth, such as earthquakes. The nether world also has strange dogs with repulsive appear-ances and owls with their eyes wide open, who are quelling the spirits and ghosts to disturb the old Marchioness.

This is a masterpiece integrating mythology, imagination and real life. Every part of it reflects the ancient conception of heaven and desire for immortality. Thus the “T-shaped” silk painting is a rare and outstanding masterpiece of ancient Chinese art.

The Female Corpse

The 2,100-year-old female corpse was unearthed from Tomb No 1. She is the wife of Li Cang, the first-generation Marquis Dai, and chancellor of Changsha State in the early Western Han Dynasty. Her name was Xin Zhui. When unearthed, she was 1.54 meters tall and weighted 34.3 kilograms and had type A blood. Her head, neck, trunk and limbs all maintained their intact forms. Her skin was wet and covered her whole body. It was light-yellow-brown and felt oily. Her hair, eyelash and hair in her nostril remained in their original places. Parts of her joints were still movable. Her subcutaneous fat was rich, and tissues were still elastic, which, after being pressed by hand, could rapidly recover the original form. When injected with a preservative fluid, the tissue swelled and the fluid could be diffused and be absorbed rather quickly. X-ray examination showed that all her skeleton was intact, her two sides were symmetrical, small bones as nasal bone and phalanx could still be distinguished, and their outward forms were no different from the skeletons of modern human beings. The corpse did have early signs of decay, such as the eye ball getting out, mouth opening, tongue slightly protruding, and rectum prolapsing. But owing to the excellent sealing of Tomb No.1, this decay ceased shortly after the corpse was buried.

This kind of well-preserved female corpse is a very rare archeological find. It is obviously different from mummies, which look shriveled and dry, and "corpse wax" , making them resemble a body model made with wax. It is also different from peat-tanned cadavers, which are easily broken, due to the skeleton softening from calcium loss. So, it is now internationally admitted that in the classification of corpses, such “wet corpses” as the one unearthed from Mawangdui should be named “Mawangdui Corpses ", which are characterized by long preservation time, elastic tissue, and presence of internal organs.

各位朋友，大家好!歡迎參觀長沙馬王堆漢墓出土文物陳列館。馬王堆漢墓位于長沙市東部地區(qū)原馬王堆鄉(xiāng)，距市中心約4千米。這里地勢平坦，地面有土冢兩個，它們大小相仿，平地兀起，中間相連，形狀頗似馬鞍。相傳這里是五代時楚王馬殷的墓地，故名“馬王堆”。但根據(jù)北宋《太平寰宇記·長沙縣》的記載，這里是西漢初年長沙王劉發(fā)葬其母程、唐二姬的墓地，號曰“雙女冢”。究竟馬王堆這座神奇古墓的墓主人是誰呢?在未發(fā)掘之前，實為千古之謎。

1971年年底，湖南省軍區(qū)366醫(yī)院決定在此修建地下病房和倉庫。為了配合基建，我們對此進行了考古發(fā)堀，這才揭開了這座千年地宮的神秘面紗。

馬王堆漢墓墓坑模型

馬王堆共有三座墓，按發(fā)現(xiàn)秩序的先后，分別編為一號、二號、三號。其中一號、二號墓東西方向平行并列，三號墓在一號墓南側(cè)。一號墓墓口呈方形，下面為斗形墓坑，是典型的西漢墓葬形式。墓口南北長19.5米，東西寬17.8米，從封土算有20.5米深。自墓口向下有4級臺階，墓室北面有一條由地面幾乎直達墓底的斜坡墓道。墓中共出土漆木器、紡織品、帛畫等各類文物1800余件及一具保存十分完整的女尸。二號墓墓口和中部為圓形，下面3米處為方形，由于曾經(jīng)多次被盜，且白膏泥密封較差，故整個墓葬已嚴重坍塌，僅殘余200余件文物。三號墓與一號墓形制相同，因該墓保存得較好，出土了帛書、帛畫、簡牘、漆木器、紡織品等1000多件文物。遺憾的是，該墓尸體已經(jīng)腐爛，僅殘存一具骨架。經(jīng)鑒定，墓主人是一個身高約1.85米，年齡在30歲左右的男性。

“利蒼”玉印

經(jīng)過考古發(fā)掘，我們發(fā)現(xiàn)馬王堆是西漢初期轪侯家族的墓地。從二號墓出土的“利蒼”玉印、“轪侯之印”(銅印)和“長沙丞相”(銅印)來看，二號墓墓主人該是第一代轪侯、長沙國丞相利蒼。他生于戰(zhàn)國末年，死于西漢高后二年(公元前186年)。早年利蒼曾跟隨漢高祖劉邦參加過秦末農(nóng)民起義、楚漢之爭，為西漢王朝的建立立下了汗馬功勞。漢初他升任長沙國丞相，極力鞏固中央政權(quán)，維護祖國統(tǒng)一大業(yè)，據(jù)《史記》和《漢書》記載，惠帝二年四月(公元前193年)，利蒼因功再封轪侯。轪，是地名，在現(xiàn)在的河南省羅山縣和光山縣之間。食邑為七百戶，與陳平、張良等萬戶侯相比，是個不太大的侯。但是由于利蒼所在的長沙國位置獨特，所以家族成員生前甘食美服，享盡人間的榮華富貴，死后也得到厚葬。

“妾辛追”印

利蒼的夫人葬于一號墓，根據(jù)墓中出土的一枚“妾辛追”的印章可以得知她的姓名叫辛追。雖然貴為侯爵夫人，她卻經(jīng)歷了早年喪夫、晚年喪子的錐心之痛，于漢文帝后元一年(公元前163年)左右撒手人寰，死時大約50歲。根據(jù)女尸和T形帛畫上辛追的形象，我們請西安超人雕塑研究院復(fù)原了一個中年轪侯夫人的蠟像，再現(xiàn)了辛追當(dāng)年的風(fēng)采。

素紗直裾禪衣

素紗是指沒有染色的紗，禪衣就是沒有襯里的衣服。這兩件衣服，重量分別為48克和49克，還不到1兩，如果除去袖口和領(lǐng)口較重的緣邊，重量就只有半兩多一點點，可謂“輕若煙霧，薄如蟬翼”。當(dāng)然，高級的紗料并不以空隙多就算好，而主要是以蠶絲的纖度勻細見長。紡織學(xué)上有個對纖度的專門計量單位叫綮，每9000米長的單絲重l克，就是1綮。因此，綮數(shù)越小，說明蠶絲越細。素紗禪衣的蠶絲纖度竟然只有10.5至11.3，而現(xiàn)在生產(chǎn)的高級絲織物其紗纖度卻是14，足見素紗的纖細輕薄。這樣輕薄的衣物，漢代的婦女又是怎樣穿著的呢?當(dāng)時人們是罩在色澤艷麗的錦袍上穿，使錦袍上華麗的紋飾若隱若現(xiàn)，給人一種朦朧的美感。

一號墓T形帛畫

此畫因其形狀呈英文字母“T”形，為了便于稱呼，就稱之為“T”形帛畫。史料中則記載為“非衣”，可能有“似衣非衣”之意。它出土?xí)r反蓋在一號墓內(nèi)棺棺蓋上，頂部橫裹一根竹竿在每個垂角下并都系著絲帶或麻質(zhì)帶子。據(jù)考證這是旌旗畫幡一類的物品，出葬時，由人高舉著走在儀仗的最前面，用以“引魂升天”，相當(dāng)于“招魂幡”。

整幅畫全長205厘米，內(nèi)容從上至下可分為天上、人間、地獄三個部分。

華蓋以上為天上部分。正上方有一人首蛇身、披發(fā)而坐的神。根據(jù)“山海經(jīng)”記載，它是威力巨大的燭龍神，主管著天氣的陰晴和晝夜的變幻。右邊繪有九個紅色的太陽半隱半藏在藍色的扶桑樹中。傳說扶桑生長在東海，有幾千丈高，十個太陽在此棲息并輪流出去值班。而畫中卻只有九日盤旋其中，另外一個太陽可能正在值班尚未歸來。最大的太陽中繪著一只黑色的鳥，古人稱之為“金烏”，這大概是古人對太陽黑子的觀測結(jié)果。左邊則是一輪彎月，月下一個美麗的女子輕舒廣袖翩躚而舞。有人說她是月神正托舉月完緩緩升起，也有人說是偷取了不老丹藥的嫦娥向月宮飛去。月中一只肥胖碩大的蟾蜍口銜一株靈芝草，而體態(tài)輕盈的玉兔與之形成了鮮明的對比。天門兩旁兩位守門神一司閽正躬手而立，恭敬作揖，歡迎升天的老夫人。

人間部分以華蓋做屋頂，上有朱雀鳥作為裝飾。華蓋以下體態(tài)豐腴的轪侯夫人錦衣華服、環(huán)佩叮當(dāng)，正手持拐杖踽踽前行。三個貼身的奴婢緊跟其后，兩位煉丹的方士正向她獻上長生不老的丹藥。人像兩側(cè)是交蟠穿壁的雙龍，象征尊貴和吉祥。下面的圖畫可能是老夫人去世后家人守靈祭祀的場景。他們面色青藍，神色肅穆，盡顯哀傷之態(tài)。

地獄里赤身裸體的地神——鯀正平托著白色的大地，腳下踩踏著兩條意欲興風(fēng)作浪的鰲魚，制止地震山崩的發(fā)生。地府中更有面目猙獰的怪狗和雙目圓睜的貓頭鷹，鎮(zhèn)壓鬼怪妖魔不去侵擾老太太的亡靈。

這是一幅把神話、想象和現(xiàn)實生活完美統(tǒng)一的杰作，它無處不體現(xiàn)了古人對天國的想象和追求永生的幻想。因而，“T”形帛畫是中國古代繪畫史上難得一見的杰作，具有難以估量的藝術(shù)價值，堪稱中華民族的藝術(shù)瑰寶。

女尸

女尸出土于長沙馬王堆一號漢墓，距今2100多年。她是西漢初年長沙國丞相、第一代轪侯利蒼的夫人，名叫“辛追”。出土?xí)r身長有1. 54米，體重為34.3千克，血型為A型，頭、頸、軀干、四肢均保存了完整的外形，皮膚濕潤且覆蓋完整，呈淡黃褐色，手摸有油膩感。頭發(fā)、眼睫毛、鼻毛等毛發(fā)附在原位。部分關(guān)節(jié)仍然可以活動。皮下脂肪豐富，軟組織豐滿而有彈性，用手按壓后，能很快恢復(fù)原位。在注射防腐劑時，軟組織鼓起，能較快擴散、吸收。經(jīng)X射線檢查，全身骨骼完整，兩側(cè)對稱，小至鼻骨及趾骨依然能分辨，外形與現(xiàn)代人骨沒有任何差別。尸體有眼球脫出、口張開、舌頭稍微挺出、直腸脫垂等死后早期腐敗現(xiàn)象。但因一號墓密封良好，尸體的腐敗現(xiàn)象在下葬后不久就停止了。

這具女尸保存的年代之久、保存程度之好，在世界尸體保存記錄中都是十分罕見的。由于它明顯不同于呈干癟狀的“木乃伊”和表面似蠟制模型軀殼的“尸蠟”，也不同于骨骼脫鈣軟化而易于折斷的“泥炭鞣尸”，因此國際上已認同，在尸體的分類上，應(yīng)該把馬王堆這類歷史悠久、軟組織仍有彈性、內(nèi)臟俱在的“濕尸”，命名為“馬王堆尸”。