一方田园，半边山水。一瓦一砾，诉说着临安的历史；一器一物，勾勒出吴越的往事。掩映在功臣山下的临安博物馆，终于揭开神秘的面纱。

        这座坐落于杭州临安区天目路800号、建筑面积达10500平方米的临安博物馆，是临安目前规模最大的文化项目，它承载了临安历史、吴越往事。

三大展厅讲述临安往事

        远远看去，整个建筑群如同一幅生动的山水画，这让不少首次到访的观众眼前一亮。中国首位普利兹克建筑奖获得者、中国美术学院建筑艺术学院院长王澍在设计博物馆之初，就坚持建筑与山水相融的理念。

        博物馆建筑设计依宋代画家李唐之半边山水结构作总体布局，形态上取意于当年钱氏一族于战乱中守住东南一方田园，建筑元素上大量参考临安本地的乡土特色。

        据说，王澍对自己的作品十分严苛。光外墙的几块砖石，就因为尺寸、色调或位置稍有偏差，被返工了好几次，其工匠精神可见一斑。

        在临安博物馆馆长鲍伟华看来，这是一项彰显临安优秀历史文化、实现遗产保护成果社会共享的文化惠民工程，项目意义重大、影响深远。

        作为反映本地区历史文化的地方性中型综合博物馆，临安博物馆兼有吴越国文化专题展示与研究中心的功能。博物馆的展厅分为基本展厅、精品展厅和临时展厅三部分。

        “天目之山，苕水出焉。龙飞凤舞，萃于临安。”临安，得名于境内的临安山。优越的生态环境和丰厚的自然资源，让这片土地上的人们从史前时期就开始繁衍生息，留下了悠久而璀璨的文明足迹。

        东南乐土，吴越家山。基本展厅为临安历史文化基本陈列展示，以吴越国国史及文化内涵为核心，482件（套）文物前溯根脉基因，后续文脉传承，以“山高水长（史前至隋唐）、树大根深（五代吴越）、枝繁叶茂（宋元明清）”几个部分来展现临安历史文化的全貌。

        临安的前世今生，在这里娓娓道来——

        数万年前的动物化石、打制石器，留下了最早的生活痕迹；数千年前的陶罐，见证了临安史前先民的生产生活；西周原始瓷器千载釉衣亮彩如昨；东周时期的炊具，好像还留有那时候勤耕善作的人们欢聚一堂的烟火气；金书铁券的故事传颂了一代又一代；一砖一瓦里是吴越国的根基；一诗一画一言一语，道不尽故乡情深。

        精品展厅为专题陈列，以吴越国王陵及王室家族墓的资料与文物为展示主体，通过墓葬形制、彩绘、石刻、星象图等丧葬制度，以及秘色瓷、白瓷、玉器、金银器等大量精美文物，反映了吴越国作为“东南乐土”的繁荣富盛，以及当时社会经济的发展水平，为研究吴越国的农业、手工业、商品贸易及科技文化等方面的发展提供了重要的实物资料。

        临时展厅为周期陈列，主要为配合区委、区政府或全区的文化活动、博物馆日、文化遗产日、名人纪念日、特殊事件纪念日等，安排临时展览。

三大国宝级文物齐亮相

        千年吴越一馆藏。博物馆开馆之日，51件（套）国家一级文物引人注目，其中三件尤为著名。

        “九秋风露越窑开，夺得千峰翠色来。”数百年前，唐代诗人陆龟蒙曾赋诗称赞越窑青瓷的精湛工艺和它的绝世容颜。

        此次亮相精品厅的三件国宝重器便是唐代越窑青瓷的代表，它们分别是来自晚唐时期的青瓷褐彩云纹熏炉、青瓷褐彩云纹盖罂和青瓷褐彩云纹油灯。

        熏炉由盖、炉、座三部分组成，整个熏炉通体施釉，尤其是炉盖处的纯正青色，堪称晚唐越窑青瓷工艺的巅峰之作。盖子呈头盔形，上面的纽像极了含苞欲放的荷花，平底外缘有五虎首兽足，须弥座形状的底座上描绘着褐彩云纹。这件熏炉也是全国首批禁止出国出境的国宝之一。

        盖罂可以分成器盖和器身两部分，半球形盖子上的纽和熏炉一样，也是含苞待放的荷花，蕾苞上画着花瓣和五条内压线，让花蕾变得立体。盖面上刻着三周阴线弦纹，从上到下画着四、五、九组云气纹。

        油灯整体呈钵形，通体施釉，呈青黄色，釉面滋润，局部有冰裂纹。油灯的腹部装饰着六组双勾如意云纹和六朵绽放的莲花，腹底和圈足上分别绘有八朵和十一朵云气纹。

        三件国宝体型硕大、工艺复杂，需要经过低温、高温两次高难度的烧制，难得的是都没有变形和扭曲，保持着整齐规整的形态，尤其是熏炉盖、炉、座三者之间完美吻合，极具艺术美感。让人意想不到的是，这三件硕大的国宝重器出自30多年前的同一处墓葬。

        1980年7月12日，临安城西北西墅街明堂山窑厂工人在取土制砖时，发现了一个古墓葬。这个古墓葬与两年前发现的钱镠之父钱宽墓并列，仅相隔了六米，并且埋于同一个封土堆，这一独特的遗存现象迅速引起了当地政府和文物部门的高度重视。同年8月11日，一场历时49天的大型考古发掘开始了。

        随着墓志的出土，墓主人的身份也浮出水面。她正是钱宽之妻、时任镇海镇东军节度使钱镠之母水丘氏。水丘氏卒于唐天复元年（901年），民间尊称她为“王母”。她一生向善，信奉佛法，这或许也解释了她生前所用之物多以荷莲和如意云纹装饰的缘由。

        在这次发掘中，出土的随葬瓷器、金属器、木器、石器等多达100余件，其中，越窑青瓷器25件。出土时，熏炉里面残存着香灰，油灯放在正中莲花形石灯台之上，装满了还没有燃尽却凝结成块的油脂，仿佛在告诉世人主人对它的喜爱。此后，三件国宝又经历了长达数年的修复，如今，终于可以在故里与大家见面了。

吴越国乱世中不走寻常路

        大家都知道，五代十国时藩镇割据，战乱连年不断。越窑青瓷烧造的“春天”，为何会出现在如此动乱的时期呢？这就要说到吴越国优越的地理环境和钱氏三世五王的治国方略了。

        五代时期的吴越国地处我国东南沿海，领一军十三州，版图包括今浙江省全境、福建北部、江苏南部和上海部分地区。吴越国自梁开平元年（907年）钱镠受封吴越王始，至北宋太平兴国三年（978年）钱俶纳土归宋止，有国72年，历三世五王，是十国中国祚最长的国家。由于吴越国地理条件优越，加上历代统治者恪守“保境安民”的基本国策和“善事中国”的治国方略，使得国家安宁、社会稳定、经济发展，物阜民富、科技进步、文化昌盛，吴越国在纷争不歇的五代十国中成为最为富庶安定的首富之区。

        安定的社会、繁荣的经济刺激了吴越国手工业的繁荣和商品经济的发展，这也为越窑精美青瓷器的烧造创造了有利的条件。在瓷业烧制“南青北白”的背景下，越窑青瓷自创烧以来再次达到生产高峰。这些越窑上品，也成为吴越国与中原政权和其他地方政权交谊的贡物和珍贵礼品。在严格的品管控制下，代表南方青瓷最高水平的越窑精美瓷器的生产和用途也为吴越国王室所垄断。

        这就不难解释为何钱镠的母亲水丘氏可以享用三件国宝级越窑青瓷品了。此外，这些越窑上品也成为海上丝绸之路上的主要贸易品之一，输往日本、朝鲜、阿拉伯国家等地。

        临安博物馆开馆时，临时展厅里有一场以“烟雨天青”为主题的“上林湖·越窑青瓷特展”，245件文物从“形”“饰”“烧”多个方面，呈现青瓷制胚、成型，到装饰、煅烧的工艺，和慈溪上林湖后司岙秘色瓷窑址出土的标本和窑具一起，为公众揭开了“秘色瓷”的神秘面纱。

        钱镠是吴越国的创建者，他或许想不到自己母亲的这些生前所用之器会在千年之后重现人间。临安是他的故里，钱镠在位期间修建钱塘江捍海石塘，因此“钱塘富庶盛于东南”。在太湖流域，他普造堰闸，以时蓄洪，不畏旱涝，并建立水网圩区的维修制度，因此田塘众多，土地膏腴；他还鼓励扩大垦田，由是境内无弃田，岁熟丰稔。

        出于对家山的眷恋，衣锦故城周边的山地成为钱镠及其王族成员理想的窆葬之所。苏轼《表忠观碑》记载：“故吴越国钱氏坟庙及其父、祖、妃、夫人、子孙之坟，在临安者十有一。”

        自上世纪50年代以来，临安除了钱宽水丘氏夫妇墓外，还相继发掘了钱元玩墓、钱镠元妃戴氏夫人墓、太庙山钱氏家族墓、钱元瓘夫人马氏康陵等七座王族墓。加上未经发掘的钱镠墓、钱镠祖父钱宙墓，临安至今已发现吴越国钱氏王族墓九座。

（本文图片摄影：魏志阳）

Museum Honors History and Culture of Lin’an

Lin’an in the west of Hangzhou deserves a museum to relate its past glories. Now a district of Hangzhou, Lin’an made its fame in the 10th century when Qian Liu, a native of Lin’an and a warlord, brought peace and prosperity to Zhejiang in the chaotic years after the fall of the mighty and prosperous Tang (618-907). Historians unanimously attribute the prosperity, peace, stability of Hangzhou to King Qian Liu who founded the Wuyue Kingdom (907-978). Altogether five kings in three generations ruled the kingdom for a total of 72 years which made this part of China the richest in the country and enjoyed peace. The kingdom surrendered peacefully to the Song in 978, eighteen years after the Song Dynasty (960-1279) set itself up and unified China step by step over a long time.

Lin’an Museum, situated at 800 Tianmu Road in Lin’an District, measures 10,500 square meters in built-up area. The biggest cultural undertaking in Lin’an, it presents the history of Lin’an and the history and culture of the Wuyue Kingdom. It opened to the public on January 28, 2019.

The museum was designed by Wang Shu, the first Chinese winner of Pritzker Prize, the world’s top prize in architecture, and dean of the School of Architecture of the China Academy of Art based in Hangzhou. The general idea Wang adopted was that the architecture of the museum should fuse with the local landscape, culture and history. Wang was inspired by a landscape painting compositional structure in which mountains and rivers should occupy only half of a painting, which was first put forward and promoted by Li Tang, an artist of the Song. In a sense, the structure also reminds visitors of the Wuyue Kingdom which accounted in size for a part of the country. The architect put a lot of local elements in the design of the museum and was ruthlessly meticulous in supervising the construction and decoration of the museum.

Though the region loomed large in the 10th century, its history can be traced to prehistoric times. Stone-age artifacts, potteries, and animal fossils have been unearthed in Lin’an, indicating the traces of early human activities in Lin’an. Some artifacts unearthed in Lin’an can also be traced to the Western Zhou (1045-771BC) and the Eastern Zhou (771-256BC). The 482 pieces and sets in the first exhibition hall present a general view of he history Lin’an and the history of the Wuyue Kingdom. 

The second exhibition hall is dedicated to the memory and glory of the royal family of the Wuyue Kingdom. Almost all the exhibits on display in this section are from the tombs of the royal family. Altogether nine tombs of the royal family have been found in Lin’an. The Tomb of King Qian Liu and the tomb of his grandfather Qian Zhou remained intact. The seven other tombs have been excavated in different years as of the 1950s. The exhibits include the Secret-Color porcelain, white porcelain, astrolabes, gold and silver vessels, reflecting the prosperity, technology, trade of the Wuyue Kingdom in the southeastern China.

The third hall is dedicated to temporary exhibitions for memorials, festivities, and commemorations.

Of the all exhibits, 51 pieces or sets are class one national treasures. Of the 51, the most eye-catching are a celadon incense burner with brown cloud patterns, a celadon covered jar with brown cloud patterns, and a celadon oil lamp with brown cloud patterns, indicative of the best products of the lat Tang Dynasty. The three pieces are huge in size and complex in form, indicating the difficulties in designing and manufacturing.

On July 12, 1980, some workers were digging sticky soil to make bricks at a kiln factory in a hill in the northwestern part of Lin’an City when they ran into an ancient tomb. It was only six meters from the Tomb of Qian Kuan, the father of King Qian Liu. The workers immediately reported this accidental discovery to the government. On August 11, archaeologists began to excavate the tomb. The digging lasted 49 days. It turned out that buried in the tomb was the wife of Qian Kuan and mother of Qian Liu, who passed away in 901 AD. More than 100 burial objects were unearthed from the tomb, including 25 celadon pieces created in Yue Kiln. It took a few years to repair the three pieces. Now people can see them at Lin’an Museum.