翻译长沙窑遗址谭家坡龙窑展览大纲

1、PAGE PAGE 28长沙窑遗址谭家坡龙窑展览大纲The Exhibition Syllabus of Tanjiapos Dragon Kiln of Changsha Kiln Relics谭家坡龙窑Tanjiapos Dragon Kiln湖南省博物馆2011年12月 Hunan Provincial Museum December, 2011目录 Catalogue TOC o 1-4 u 一、展览思路 PAGEREF _Toc313865664 h 4. The Thinking of the Exhibition二、展览路线 PAGEREF _Toc313865665 h 4.

2、The Route of the Exhibition三、展陈手段 PAGEREF _Toc313865666 h 5. The Ways of the Exhibition四、展览特色 PAGEREF _Toc313865667 h 5. The Characteristics of the Exhibition五、展览意义 PAGEREF _Toc313865668 h 5. The Significance of the Exhibition六、展览结构 PAGEREF _Toc313865669 h 6. The Structure of the Exhibition（一）遗址公园入口

3、 PAGEREF _Toc313865670 h 61. The Entrance of the Site Park1、窑区遗迹分布图. PAGEREF _Toc313865671 h 61) The Layout Plan of the Kiln Relics（二）谭家坡龙窑展区 PAGEREF _Toc313865672 h 82. The Exhibition Area of Tanjiapo Dragon Kiln1、序厅 PAGEREF _Toc313865673 h 81).The Lobby（1）展标 PAGEREF _Toc313865674 h 8a. Exhibits Ma

4、rks（2）沙盘模型 PAGEREF _Toc313865675 h 8b. Sandbox Model （3）前言 PAGEREF _Toc313865676 h 8c. Preface2、制瓷作坊区 PAGEREF _Toc313865677 h 82). The Workshop Area of Porcelain Making（1）制坯区 PAGEREF _Toc313865678 h 8a. Adobe Making Area（2）施彩上釉区 PAGEREF _Toc313865679 h 12b. Colouring and Glazing Area（3）满窑开窑区 PAGEREF

5、 _Toc313865680 h 13c. Kiln Filling and Opening Area（4）废品处理区 PAGEREF _Toc313865681 h 13d. Waste Dispose Area3、谭家坡龙窑 PAGEREF _Toc313865682 h 143). Tanjiapo Dragon Kiln（1）窑炉结构 PAGEREF _Toc313865683 h 14a. Kiln Structure（2）烧造过程 PAGEREF _Toc313865684 h 15b.b. Making Process（3）辅助展示资料 PAGEREF _Toc313865685

6、 h 17c. Auxiliary Exhibiting Information4、尾厅 PAGEREF _Toc313865686 h 20d. Tail Hall（三）遗迹文化层剖面墙 PAGEREF _Toc313865687 h 203. Cultural Profile Wall of Relics Culture（四）陈家坪遗迹展区 PAGEREF _Toc313865688 h 204.Chengjiaping Relics Exhibition展览思路.The Thinking of the Exhibition长沙窑遗址谭家坡龙窑陈列与长沙窑博物馆陈列应视为一个有机统一的整体

7、，互相呼应，互为补充。两个陈列的展示主体不同，决定了其展览内容和侧重点的不同。长沙窑博物馆就像一座艺术殿堂，以长沙窑器物为展示主体，重点展现长沙窑的历史性、艺术性和文化内涵；而谭家坡龙窑作为长沙窑的一个“生产车间”，则需要以龙窑及作坊遗迹为展示主体，重点展现长沙窑瓷器的生产过程。该陈列在策展思路上包含四个层次：一是保持遗迹原貌，在尽量少干预的原则下，对遗迹进行展示；二是充分运用历次考古发掘成果和当前科研成果对遗迹进行诠释，并通过图片和视频展示考古发掘过程；三在充分诠释遗迹的基础上对其进行历史信息的重构；四是通过遗迹复原让观众去体验和感悟。The Exhibition of Tanjiapos

8、Dragon Kiln of Changsha Kiln Relics and the Exhibition of Changsha Kiln Museum should be considered as an organic unity; they complement to each other. The subjects of the two exhibitions are different so their exhibits and focuses differ accordingly. Changsha Kiln implements as the main exhibits sh

9、ow, Changsha Kiln Museum is just like an art palace, which mainly shows porcelain making process, emphasizing its historical significance, artistic quality and cultural connotation. As only a “production workshop,” Tanjiapos Dragon Kilns main exhibits are kiln and workshop relics, emphasizing the pr

10、oduction process of its porcelains. The curatorial ideas of the exhibition consist of four levels: firstly, the exhibition should show the original appearances of the relics with fewer interruption; secondly, the relics should be interpreted by making full use of all previous archaeological achievem

11、ents and current scientific achievements, and the archaeological process could be shown by pictures and videos; thirdly, the historical information should be reconstructed on the basis of fully interpreting the relics; fourthly, visitors can obtain personal experience and appreciate from the recover

12、y relics.窑址陈列的优势在于直接体验遗迹原貌，不足在于诠释难度大，易给人以单调难懂的感觉。鉴此，谭家坡龙窑陈列需要让沉静的遗迹鲜活地向观众传递她所蕴含的历史信息，让观众在轻松惬意的氛围下看懂长沙窑的制瓷流程，同时挖掘一些小知识和有趣的问题，设置观众体验环节，做到知识性、趣味性和互动性相结合。 The kiln sites display can help visitors get a direct impression of the relics original appearances while its quite difficult to do so and the visito

13、rs may feel it dull and obscure. Therefore, the exhibition of Tanjiapo Dragon kiln should transfer lively its historical information to the visitors and make them understand the porcelain making process in a casual and pleasant atmosphere. Meanwhile, some interesting questions can be arranged, and t

14、he audiences participation can show a mixture of intelligence, entertainment and interactivity.展览路线 . The Route of the Exhibition按照长沙窑的制瓷流程顺时针地组织展线。即从谭家坡坡底右侧序厅进入，参观谭家坡龙窑现状和复原沙盘模型；然后左拐从下往上参观制瓷作坊区；然后进入音像播放厅，观看考古工作者发掘长沙窑的影像资料；然后来到谭家坡窑尾，依次了解长沙窑瓷器的烧造过程，并从中部窑门穿过复原窑炉，了解窑炉内部结构；最后观众将欣赏到一段3D动画，该动画以谭家坡龙窑现状为基础，

15、一步步复原到唐代烧瓷的壮观场面，同时将前面参观的遗迹串联起来，动态演绎唐代长沙窑瓷器从制作到烧造的全过程，让观众豁然开朗，印象深刻。The exhibition line is arranged clockwise according to the porcelain making process of Changsha kiln. Visitors enter from the right side lobby at the base of Tanjiapo, seeing its present status and recovery sandbox models. Then turn l

16、eft to visit porcelain making workshop area from down to up. The audio and video play hall is next, showing how archaeological workers unearth Changsha kilns. Next comes the rear of Tanjiapo kiln, showing porcelain making process in sequence, and then the audience go across the recovery furnace thro

17、ugh its middle door to see the inner structure. Visitors finally watch a 3D cartoon showing how the present Tanjiapo kiln relics are gradually recovered to its original appearances in the Tang dynasty, while displaying the spectacular scenes of enamelware. At the same time, the previously-shown reli

18、cs are put together in series to offer a panoramic view of the making of Changsha kilns porcelains.观众参观结束后，可以选择进入公众考古体验区，体验真实的考古发掘活动。After the visit, visitors can choose to enter the public archeological experiencing area to have a feel of authentic archeological excavation activities.展陈手段. The Ways

19、 of the Exhibition1、谭家坡龙窑及作坊遗存是展示中心，适当辅以实物展品；2、文字说明、图片、图表、视频等加以诠释，增强实证性；3、3D动画拼接历史碎片，重构历史场景；4、通过龙窑复原、现场考古引入公众体验。1.Tanjiapo Dragon Kiln and its workshop remains are the exhibition centre, assisted with physic exhibits;2. Word illustration, pictures, graphs and videos are used to add to the effect of

20、positivity;3. Montaging the historical fragments to reconstruct the historic scenes; 4. Public experiencing with the Dragon Kiln recovery and visitors archeological activities. 四、展览特色. The Characteristics of the Exhibition（一）与其他陶瓷窑址相比，谭家坡龙窑展览更加突出专业性和可观赏性。本展览突破了单调乏味的静态展陈方式，充分利用形式多样的展览表现手法，营造活泼愉快的展览氛围

21、以吸引观众。例如我们采取在每个遗迹点使用公交站牌式说明牌的手法，让观众一目了然。再如观众欣赏的3D动画，会使他们对长沙窑的印象更加直观深刻。1. Unlike other porcelain kiln relics, the exhibition of Tanjiapo Dragon Kiln stresses professional and ornamental qualities. It is no longer tedious and static, but constructs a galliard atmosphere to attract visitors by various

22、techniques of expression. For example, each ruins site has an introduction board like a bus stop board, for the visitors quick knowledge. As another example, 3D cartoons will directly impress the visitors. （二）谭家坡龙窑展览更加注重阐释性和趣味性。例如展览中围绕长沙窑瓷器的生产与唐代窑工的生活设置了一些有趣的问题，通过解答这些问题，使观众更深入地理解长沙窑。2. Tanjiapo Drag

23、on Kiln stresses interpretative and entertainment aims. For instance, some interesting questions about porcelain production and kiln workers life in the Tang dynasty are given, to help visitors further understand Changsha kilns.（三）谭家坡龙窑展览更加注重互动性。本展览通过设置一些互动环节，调动观众参观的积极性，满足观众的好奇心。例如在窑炉复原部分让观众亲自体验装窑；在

24、窑址保护区内设立文物修复区和公众考古体验区，让观众走进考古发掘，寓教于乐，也有利于增强观众的文化遗产保护意识。 3. Tanjiapo Dragon Kiln emphasizes interactivity. Interaction makes the visitors enthusiastic and satisfies their curiosity. For example, visitors can experience outfit kiln in person in the kiln recovery. The cultural relics restoration zone a

25、nd the public archeological experiencing zone are set up in kiln reserve protection zone, bringing the visitors closer to the archeological excavation. This helps to enhance the visitors sense of cultural heritage protection. 五、展览意义谭家坡龙窑是长沙窑遗址中目前发现的保存最为完整的龙窑，也是我国为数不多的规模大、保存完整的唐代瓷窑。谭家坡龙窑结构清晰，底部保留了大量摆

26、放整齐的匣钵，西侧有大量的废品堆积和多处制瓷作坊遗迹，这为探索我国唐代制瓷工艺、作坊组织形式等方面提供了丰富的资料。该展览对于保护好、宣传好长沙窑遗址具有重要意义，有利于传承优秀的湖湘传统文化。谭家坡龙窑遗址与长沙窑博物馆互相呼应，加上周边优美的环境，必将成为长沙旅游环线上一颗闪亮的新星。. The Significances of the Exhibition Tanjiapo Dragon Kiln is by far the most well preserved in Changsha kiln relics, and also one of the few large-scale a

27、nd well preserved Tang kilns. It has a clean structure, with are a large number of saggars on the bottom and a large amount of wastes and relics of porcelain making workshops on the west side. They provide abundant evidence for exploring Tang dynasty porcelain making crafts and organizational forms

28、of the workshops. This exhibition is significant for protecting and publicizing Changsha Kiln relics, and inheriting Huxiang traditional culture. With beautiful surroundings, Tanjiapo Dragon Kiln and Changsha Kiln relics will become a shining star in Changsha.六、展览结构. The Structure of the Exhibition遗

29、址公园入口1. The Entrance of the Site Park1、窑区遗迹分布图1) The Layout Plan of the Kiln Relics地图显示整个窑区地形地貌、遗迹分布及参观线路。 The map shows the land form of the entire kilns, relics layout and visiting route.辅助图：Auxiliary Graph:长沙铜官窑窑区航拍图或高清卫星图。Aerial Photo or High-definition Satellite Photo of Changsha Tongguanyao Ki

30、ln area 瓦渣坪Wazaping兰家坡 Lanjiapo湘江与古城大桥Xiangjiang River and the Ancient City Bridge谭家坡龙窑展区2. The Exhibition Area of Tanjiapo Dragon Kiln 馆标The Museum Marks谭家坡遗迹馆Tanjiapo Relics Museum序厅2) The Lobby（1）展标a. The Exhibition Marks化泥为宝谭家坡制瓷作坊遗迹陈列 Turn the Mud into Treasures Exhibition of the Relics of Tanj

31、iapo Porcelain Making Workshops （2）沙盘模型b. Sandbox Model谭家坡龙窑的遗迹现状沙盘和遗迹复原沙盘，让观众对比观察。Visitors can compare present relic sandbox and recovery relic one of Tanjiapo Dragon Kiln. （3）前言c. Preface您现站在一片古窑址的废墟之上，堆积厚达数米的残瓷碎片是晚唐五代窑火旺盛的见证。遥想当年，这里曾是一片广袤的制瓷工场。这里展示的制作作坊分别是1983、2010年发掘的，包括制坯区和烧造区两部分，包含了长沙铜官窑从采泥到瓷器

32、出品的整个工艺流程，并见有“开成三年”（公元838年）、“咸通十囗正月”（公元871-874年）等纪年铭文，说明此作坊使用于9世纪中期，这正值长沙窑鼎盛时期。谭家坡龙窑是长沙窑现存最长的窑炉之一，装烧量惊人。东亚、东南亚、西亚、东北非出土的长沙窑产品或是从这里输出。Now you are standing on the remains of an ancient kiln relic, and the meters of porcelain residual witness the prosperity of kilns in late Tang and the Five Dynasties.

33、 Just think that this used to be a vast porcelain making workshop! The workshops shown here were unearthed in 1983 and 2010, including Adobe Making Area and Firing Area, with Changsha Tongguanyao Kilns entire craft process from mud mining to porcelain production. The marks on the products indict the

34、 workshop was in place in mid 9th century, the heyday of Changsha Kilns. With amazing output, Tanjiapo Dragon Kiln is among the few with the longest history in Changsha Kilns. Its products have been unearthed in east Asian, southeast Asian, west Asian and northeast Africa.从窑炉底部尚有排列整齐的匣钵，以及工棚底部有火烧遗迹看

35、，此窑可能废弃于战火。Seeing from the saggars at the bottom of the furnace and the burnt relics at the shed base, this kiln is believed to be out of use owing to the war. (?)2、制坯区2. Adobe Making Area【说明】制坯区位于窑炉西侧，目前已发现有挖泥洞、淘洗池、制坯间、陶车坑、化妆土池、釉缸、晾坯处、废品堆积处等大量遗迹，这些遗迹虽有时间早晚的差异，但基本功能分区一直延续不变，大体可分为成型、装饰、刮釉晾坯、废品处理四个小区。

36、【Description】Adobe making Area lies in the west side of the furnace. For the time being, a great quantity of relics have been unearthed such as dredging hole, washing pond, adobe making zone, ceramic vehicle pit, makeup mud pond, glaze cylinder, adobe airing zone and waste reservation zone. Although

37、 those relics differ in time yet the basic function zones are all the same which can be divided into four zones: molding, ornament, glaze scraping, adobe airing, and waste disposal.（1）成型区该区位于制坯区的下部，与窑头平齐，包括挖泥洞、制坯工棚、辘轳坑和排水系统等。窑工们在此练泥、制坯，存放烧窑燃料。工棚也可能包括窑工的简易生活间。Molding ZoneThe same height as kiln head,

38、 this zone is at the bottom of Blocking Area, including mud dredging hole, adobe-making work shed, windless pit and dewatering system. Here kiln workers mold mud, make adobe and depose kiln fuels. The work shed may also include workers simple living room. 成型区平面图 Plane Graph of Molding Zone挖泥洞Mud Dre

39、dging Hole【说明】铜官窑取泥主要分整体下挖和入洞式两种方式。入洞式深采，瓷泥更为纯净，成本也相对较高。此挖泥洞为横向式，洞深约15米。目前窑区发现类似的采泥洞及出气孔有19个。【Introduction】There are two types of mud dredging in Tongguanyao Kiln: digging-down type and hole-in type. With hole-in type of deep mining, porcelain clay dug out is purer, but the cost is relatively higher

40、. These dredging holes are of the horizontal type, and about 15 meters deep. At present, 19 similar mud holes and vent-holes have been found in kiln areas.挖泥洞现状辅助展示：1、挖泥洞瓷泥标本展示；2、挖泥洞高清摄像展示（配解说词）。Dredging hole statusAuxiliary display:The dredging-hole porcelain clay specimens show;2. The dredging-hol

41、e high-definition video display (with commentary).（B）淘洗、练泥池【说明】发掘时池内曾发现大量残存瓷泥。淘洗是练泥的第一步，瓷泥在池内通过搅拌和淘洗，除去浮渣和沉于池底颗粒较大的砂石等杂质，瓷泥溶入水中成为浑浊的浆体。经过一到两次淘洗后，瓷泥浆被舀入储泥池去水，便进入下一工序练泥。经过反复踩踏拍打，使其纯真结实，再将泥料放置一段时间，使泥料之间充分反应和混合均匀，方可制器。b. Washing, Mud Pugging PondDescription When exploring the pond, a large number of por

42、celain clay remnants had been found. The first step of mud pugging is washing. Porcelain clay in the pond is stirred and washed to remove scum and large particles of gravel and other impurities sinking in the bottom. The porcelain clay becomes muddy slurry in the water. After one to two times washin

43、g, the ceramic slurry is scooped into the reservoir basins to dehydrate so as to enter the next process mud pugging. After repeated trampling beat, the mud will become pure and strong, laid aside for some time so that the full reaction occurs among the mud and mixes well enough. Then comes the step

44、of porcelain making.（C）制坯间遗迹：房1、柱洞120、踩踏面、烧土面、陶瓦片、灰黑粘土层等Adobe Making zoneRelics: room 1, postholes 1-20, stepping surface, soil burning surface, ceramic tiles, gray clay layer and so on.【说明】房1为拉坯成型处，残存面积约125平方米。北边残存排水沟和挡水墙，说明房屋具有良好的排水系统。柱洞直径20厘米左右，从排水沟、挡水墙、柱洞遗迹的分布看，房屋呈长方形。西部有两个陶车坑，应是拉坯成形的地方，小型动物等捏制、

45、模制而成的器物，也应在此区域完成。制坯间东边靠近窑头，可能为燃料堆放处。 Description Room 1 is used to cast molding, and the remnants of this area are about 125 square meters. The north side survives the gutter and retaining wall which indicates that the housing has a good drainage system. Posthole is about 20 cm in diameter. Seen fro

46、m the distribution of drainage system, retaining walls and posthole remains, the house is rectangular. On the western side are two ceramic vehicle pits; this should be the area for casting and molding. Small animals kneading and molded objects should also be done in this area. The east side of the a

47、dobe making area close to the kiln head may be somewhere for fuel dumps.（D）房1排水沟、房1挡水墙【说明】排水沟和挡水墙残存于制坯间北侧。排水沟宽约40厘米，档水墙残高约15-20厘米，雨水自东绕过制坯间，向西流往山下。这套排水系统原来应是与窑坡上方排水沟、洗泥池相连通，贯穿于整个制瓷作坊区，起到良好的排水除涝作用。d. Gutter and Retaining Wall of Room 1【Introduction】The gutter which is of 40 cm width and retaining wal

48、ls which is about of 15-20 cm height survive on the north side of the Adobe Making Area. Rainwater flows from the east bypassing adobe making zone and westward down the hill. The set of drainage systems used to connect the gutter upon the kiln slope and washing pond, throughout the whole porcelain w

49、orkshop area. And it does play a good role as drainage and waterlogging.（E）房2【说明】房屋基槽叠压于房1下部，说明年代早于房1，面积较房1小得多，表明谭家坡龙窑制瓷区曾经历了一次较大的扩建，反映了长沙窑窑业发展，生产规模不断扩大的历史过程。e. Room 2【Description】The rooms base groove lies under the lower part of Room 1, which shows that its earlier and much smaller than Room 1, in

50、dicating that the Dragon Kiln Porcelain Making Area of Tanjiaqiao has experienced a large expansion. It reflects Changsha Kilns development and the historical process of the expansion of production scale.（F）陶车坑【说明】平面呈椭圆形，壁面加工光滑，底部有一圆形小坑。坑口周围散落有白色瓷泥。圆形器物都在陶车上拉坯成形，即将坯泥放入转盘内，借辘轳旋转之力，用双手把坯泥拉成所需的形状。f. Ce

51、ramic vehicle Pit【Description】It has oval-shaped plane, processed smooth wall surface and a circular pit at the bottom. The white porcelain clay scattered around the pit head. The round objects are cast and formed on the pottery car: put the mud into the turntable and make it into desired forms acco

52、rdingly by hand by the rotating power of the windlass.辅助展品：Auxiliary Exhibitsa、辘轳车结构示意图Jinggers Structural Diagramb、拉坯视频 Adobe Throwing Video（2）装饰区【部说明】位于作坊中部，施化妆土、彩绘题诗、模印贴花、施釉等装饰工艺皆在此完成。长沙窑瓷在彩绘、上釉之前，先施有一层白色化妆土，以增加胎体白度，待其阴干后题诗绘画，或粘贴模印的花纹，再罩上青釉。也有施乳白釉，或几种釉彩交织使用以美化器物。Ornament ZoneDescription It is loc

53、ated in the centre of the workshop, where all the ornament crafts are done, such as engobe painting, color decoration, verse inscription, mold printing and appliqu, as well as enameling. Before color decoration and glazing, a layer of white engobe is covered in order to enhance the whiteness of the

54、adobe. After being dried, it will be decorated with color and verse or pasted with the imprinted pattern, and then cast with green glaze. Milk white glaze or mixed glaze can be intertwined to beautify the implements.（A）施化妆土间：池1、池1墙（残墙）、柱洞1、沟2【说明】从化妆土淘洗池旁残存的墙壁、基槽、柱洞来看，其上原应有棚房存在。化妆土池形状不规则，南半部已残缺，长约10米

55、，宽约5米，深约0.4米，西北角仍残存着白色化妆土。Engobe Painting Zone: Pond 1, Pond 1s Wall (dilapidating wall), Posthole 1, gutter 2【Description】According to the epibiotic walls, foundation trench and posthole beside the Engobe Washing Pond, there should exist a shed room. With the incomplete southern half part, the Engo

56、be Washing Pond is of irregular shape, about 10 meters long, 5 meters wide and about 0.4 meters deep, and in the northwest corner there still is white engobe.辅助展示：Auxiliary Display:长沙窑化妆土（实物）及化学成分分析表a. Analysis Table of Chemical Elements of Changsha Kilns Engobe (entity)b、陶瓷基本知识：化妆土长沙窑瓷胎土的含铁量较高，烧成后呈

57、红、灰等色，为增加胎体的白度和细腻度，窑工在胎体上常施有一层化妆土。化妆土是用上好瓷土加工调和而成的泥浆。施化妆土后，彩绘更鲜艳醒目。b. The Basic Knowledge of Ceramics: Engobe（B）彩料煅烧间：灶1【说明】此灶用于煅烧彩料。彩料制作须先将矿石晒干，然后粉碎加入容器中，在700左右的温度下煅烧，最后放入冷水中洗涤，经多次沉降漂洗，除去杂质和粗渣以及可溶性盐，最后焙干而成。B. Color material Calcinating zone: stove 1【Description】This stove is used for calcinating co

58、lor material. For the production of color material it is firstly to dry the ore. And then smash it and put it into the container, calcinating at the temperature of about 700 . Finally the color material should be put into the cold water to wash. After many times of repeated rinse, the color material

59、 is kilndried by removing impurities and coarse residue and soluble salts.(C)彩绘上釉间：缸3、4、9、10（釉缸）、基槽1、柱洞D1、2、5、6、7、8、11C. Color Decoration and Enameling Zone: Cylinder 3, 4, 9 and 10 (Glazing Cylinder), Foundation trench 1, Postholes D1, 2, 5, 6, 7, 8, 11【说明】从残存的基槽和多处柱洞来看，其上原有房屋存在。埋于地下的五口釉缸一字排开，盛着不同颜

60、色的釉水。画师就是在这里对坯体题诗绘画，然后施青釉。长沙窑釉水是由优质瓷土与草木灰按比例配合，经过碾磨、兑水精制而成。工匠们已经熟练掌握青、白、绿、酱、黑等釉的配方，着色剂主要是铁、铜两种元素。施釉方法以蘸釉为主，即手持器物底部浸入釉水中。【Description】Seen from the epibiotic foundation trench and so many postholes, there should have been a shed room thereon. Five glaze cylinders are buried underground in line contai