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自2017年8月14日闭馆提升改造315天之后，6月25日下午1时半，良渚博物院重新开馆。
良渚博物院前身是1994年建成的良渚文化博物馆，2008年9月新馆建成开放，占地面积4万平方米，建筑面积1万平方米，其中展厅面积4000平方米，是一座良渚文化专题类博物馆，也是余杭最重要的文化地标和对外展示窗口之一。
良渚博物院是10年前开馆的，也就是说，它的基本陈列展示出的，仅仅是2008年之前对良渚古城的考古认识。而最近这十年，恰是良渚古城考古发现最多、理念革新并且国际影响力和知名度越来越高的十年。
原本博物院的展厅分为常设展和临展厅。而这一次改造的重点，就是三大展厅的常设展，展厅位置没变，但主题和内容全部更新。从数字上最容易看出变化。2008年前，良渚博物院的常设展展品共400多件（组），这次重新开馆后，展品达到了600多件（组），新增的展品包括钟家港、葡萄畈、美人地等遗址的近200件陶器、动植物标本，以及后杨村、文家山、卞家山出土的玉器，比如琮、璧、锥形器、鱼钩。其中，钟家港的良渚先民头盖骨、钟家港的鱼钩，都是重新开馆后首次展出。特别值得一提的是，这次新增的展品中，除了良渚博物院藏品外，有一百多件来自浙江省文物考古研究所的珍藏，且都是最近10年的考古新发现。
笔者专访了本次良渚博物院总策展人、复旦大学文物与博物馆学系教授高蒙河，他带着笔者探营新展厅。
所有人一进博物院的第一感受：明亮，眼睛非常舒服。
前段时间，很多人在讨论博物馆究竟需要什么样的光线照明。良渚博物院这次作了一个示范，也是此次提升改造的一大变化。
“很多人认为古部落、原始人是很落后的，所以灯光效果都做得黑黢黢的，搞得很神秘。实际上，我们的良渚文明已经进入了文明时代，我们想追求一种亮亮堂堂的展示效果，这也符合现在国际博物馆的展览模式。”高蒙河说。
展厅里所有的灯光照明都可以调节，有三级调试效果，既能调出暖光，也能调出冷光。
可能你会问，这么亮的灯光难道不会对文物造成影响吗？
高蒙河解释：“我们的文物基本都不是有机质的文物，不是书画，也不是丝织品，多是无机物，陶器、玉器不怕灯光。而因为玉器比较小，又会用到特殊照明灯，尽量用一些射灯去展现。”
这次600多件（组）文物所用的展柜，用的是低反射玻璃，你走近它的时候，不太能看到自己的影子，也就是说，拍照的时候，不用怕有反光。尤其是玉器展廳的四个独立展柜，启用了目前国际先进的德国“汉氏柜”，大英博物馆、美国大都会博物馆、埃及国家博物馆一些珍贵的藏品，都用到了它。
这次良渚博物院的四只“汉氏柜”，单独为良渚玉器的“三大件”琮、璧、钺打造，两位德国技术人员手工安装，一个展柜装了一个礼拜。
在展厅中，你到处都能看到英语翻译。而以前，我们会在重要的单元说明和标题上有翻译，但这次基本上做到能翻译的地方尽量都使用双语系统，这是在展览传播上的一种新尝试。
所有的前言和结语，专家经过了不下十次的反复讨论，每一个标点符号都经过斟酌，甚至有一些英文翻译，到底应该用什么词，比如“城市”这个词，有很多翻译，最后用的是urban。高蒙河说，这是借助了很多国内考古、英文权威专家的力量，经过了多位翻译专家的讨论、校对，最后才确定的。
展馆内最重要的内容当然是展品。
高蒙河说，经过了十年的考古发现，不但搞清了良渚古城的格局、功能、属性，甚至还发现了外围大型水利系统。所以，这次展览是良渚考古80年、特别是最近十年考古成果的一次集大成展览，而且是良渚考古发现第一时间、第一手资料的展示。
而三大展厅常设展的主题就是：良渚遗址是实证中华五千年文明史的圣地。
这句话，就刻在了大厅迎面而来的大照壁上，简洁，有力。
“良渚文明这个结论，上次展览我们还不敢完全坐实，那时主要展示的是良渚文化，现在已经坐实了。坐实的意思是什么？一个是良渚古城的格局和功能，我们都搞清楚了；另一个是发现了大型的外围水利系统。正是因为有了这两个重大发现，我们敢说，良渚遗址不但实证了中华五千年文明，也是实证中华五千年文明史的具有突出普遍价值的典型遗址，我们现在叫‘圣地’。”
高蒙河说，现在这三个展厅，是这十年的研究成果，是用事实来说话。
事实是什么？是物。良渚遗址的“物”有两种。一种是包括古城水利系统这样遗迹性质的，通过遗址现场的照片和模型来展示。另一种就是具体的实物。良渚遗址目前出土的陶器、玉器、石器、骨器、漆器等，都作了全方位的展示。
除了用物说话，要细致了解五千年前的良渚人的生活，还需要大量辅助设备，而这次重新开馆甚至还用上了黑科技。
很多人对良渚墓葬有兴趣，但墓地没法搬到展厅里。在博物院的“良渚古城”展厅里，笔者看到反山王陵9个墓葬，以及墓葬里的器物——微缩版，十分逼真，细节无差。
这项目前国际很流行的3D打印技术，在新的展厅里大量用到，包括墓地、宫殿区、作坊区，这在目前国内博物馆的展陈中很少见。
而现在戏剧圈很流行的沉浸式体验，也用在了展厅里。这番沉浸式体验，来自一块墙皮。这不是一块普通的墙皮，它被布展在了“良渚古城”展厅的展墙上，4米×3米，是从良渚古城北城墙遗址上切下来的剖面。
笔者刚要转头去看其他文物，这块墙皮忽然“动”了。
原来展厅顶上有个大型多媒体投影机关，良渚古城的形成过程，古城墙是如何一步一步演变而来的，投影在了五千多年前的古城墙皮上。墙皮是静态性的还原，多媒体是影像式的还原，两者结合，动静呼应，有一种时空穿越之感。高蒙河说，过去没用过这种手段，是全新观感体验的设计。 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.
良渚博物院前身是1994年建成的良渚文化博物馆，2008年9月新馆建成开放，占地面积4万平方米，建筑面积1万平方米，其中展厅面积4000平方米，是一座良渚文化专题类博物馆，也是余杭最重要的文化地标和对外展示窗口之一。
良渚博物院是10年前开馆的，也就是说，它的基本陈列展示出的，仅仅是2008年之前对良渚古城的考古认识。而最近这十年，恰是良渚古城考古发现最多、理念革新并且国际影响力和知名度越来越高的十年。
原本博物院的展厅分为常设展和临展厅。而这一次改造的重点，就是三大展厅的常设展，展厅位置没变，但主题和内容全部更新。从数字上最容易看出变化。2008年前，良渚博物院的常设展展品共400多件（组），这次重新开馆后，展品达到了600多件（组），新增的展品包括钟家港、葡萄畈、美人地等遗址的近200件陶器、动植物标本，以及后杨村、文家山、卞家山出土的玉器，比如琮、璧、锥形器、鱼钩。其中，钟家港的良渚先民头盖骨、钟家港的鱼钩，都是重新开馆后首次展出。特别值得一提的是，这次新增的展品中，除了良渚博物院藏品外，有一百多件来自浙江省文物考古研究所的珍藏，且都是最近10年的考古新发现。
笔者专访了本次良渚博物院总策展人、复旦大学文物与博物馆学系教授高蒙河，他带着笔者探营新展厅。
展厅光线更亮堂，展柜玻璃不影响拍照
所有人一进博物院的第一感受：明亮，眼睛非常舒服。
前段时间，很多人在讨论博物馆究竟需要什么样的光线照明。良渚博物院这次作了一个示范，也是此次提升改造的一大变化。
“很多人认为古部落、原始人是很落后的，所以灯光效果都做得黑黢黢的，搞得很神秘。实际上，我们的良渚文明已经进入了文明时代，我们想追求一种亮亮堂堂的展示效果，这也符合现在国际博物馆的展览模式。”高蒙河说。
展厅里所有的灯光照明都可以调节，有三级调试效果，既能调出暖光，也能调出冷光。
可能你会问，这么亮的灯光难道不会对文物造成影响吗？
高蒙河解释：“我们的文物基本都不是有机质的文物，不是书画，也不是丝织品，多是无机物，陶器、玉器不怕灯光。而因为玉器比较小，又会用到特殊照明灯，尽量用一些射灯去展现。”
这次600多件（组）文物所用的展柜，用的是低反射玻璃，你走近它的时候，不太能看到自己的影子，也就是说，拍照的时候，不用怕有反光。尤其是玉器展廳的四个独立展柜，启用了目前国际先进的德国“汉氏柜”，大英博物馆、美国大都会博物馆、埃及国家博物馆一些珍贵的藏品，都用到了它。
这次良渚博物院的四只“汉氏柜”，单独为良渚玉器的“三大件”琮、璧、钺打造，两位德国技术人员手工安装，一个展柜装了一个礼拜。
在展厅中，你到处都能看到英语翻译。而以前，我们会在重要的单元说明和标题上有翻译，但这次基本上做到能翻译的地方尽量都使用双语系统，这是在展览传播上的一种新尝试。
所有的前言和结语，专家经过了不下十次的反复讨论，每一个标点符号都经过斟酌，甚至有一些英文翻译，到底应该用什么词，比如“城市”这个词，有很多翻译，最后用的是urban。高蒙河说，这是借助了很多国内考古、英文权威专家的力量，经过了多位翻译专家的讨论、校对，最后才确定的。
3D加投影技术，黑科技“复活”展品
展馆内最重要的内容当然是展品。
高蒙河说，经过了十年的考古发现，不但搞清了良渚古城的格局、功能、属性，甚至还发现了外围大型水利系统。所以，这次展览是良渚考古80年、特别是最近十年考古成果的一次集大成展览，而且是良渚考古发现第一时间、第一手资料的展示。
而三大展厅常设展的主题就是：良渚遗址是实证中华五千年文明史的圣地。
这句话，就刻在了大厅迎面而来的大照壁上，简洁，有力。
“良渚文明这个结论，上次展览我们还不敢完全坐实，那时主要展示的是良渚文化，现在已经坐实了。坐实的意思是什么？一个是良渚古城的格局和功能，我们都搞清楚了；另一个是发现了大型的外围水利系统。正是因为有了这两个重大发现，我们敢说，良渚遗址不但实证了中华五千年文明，也是实证中华五千年文明史的具有突出普遍价值的典型遗址，我们现在叫‘圣地’。”
高蒙河说，现在这三个展厅，是这十年的研究成果，是用事实来说话。
事实是什么？是物。良渚遗址的“物”有两种。一种是包括古城水利系统这样遗迹性质的，通过遗址现场的照片和模型来展示。另一种就是具体的实物。良渚遗址目前出土的陶器、玉器、石器、骨器、漆器等，都作了全方位的展示。
除了用物说话，要细致了解五千年前的良渚人的生活，还需要大量辅助设备，而这次重新开馆甚至还用上了黑科技。
很多人对良渚墓葬有兴趣，但墓地没法搬到展厅里。在博物院的“良渚古城”展厅里，笔者看到反山王陵9个墓葬，以及墓葬里的器物——微缩版，十分逼真，细节无差。
这项目前国际很流行的3D打印技术，在新的展厅里大量用到，包括墓地、宫殿区、作坊区，这在目前国内博物馆的展陈中很少见。
而现在戏剧圈很流行的沉浸式体验，也用在了展厅里。这番沉浸式体验，来自一块墙皮。这不是一块普通的墙皮，它被布展在了“良渚古城”展厅的展墙上，4米×3米，是从良渚古城北城墙遗址上切下来的剖面。
笔者刚要转头去看其他文物，这块墙皮忽然“动”了。
原来展厅顶上有个大型多媒体投影机关，良渚古城的形成过程，古城墙是如何一步一步演变而来的，投影在了五千多年前的古城墙皮上。墙皮是静态性的还原，多媒体是影像式的还原，两者结合，动静呼应，有一种时空穿越之感。高蒙河说，过去没用过这种手段，是全新观感体验的设计。 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.