考古學所見三國文化
The Culture of the Three Kingdoms Revealed by Archeological Research
楊泓 中國社會科學院考古研究所
Yang Hong, Archeology Institute of the ChineseAcademyof Social Sciences
東漢末年的黃巾起義導致東漢王朝名存實亡，也標志著高度興盛的秦漢文化的終結。當時地方上的群雄相互征伐。曹操挾漢天子以令諸侯，統(tǒng)一北方。而在長江以南，孫權與劉備結盟。建安十三年(208年)，曹軍與孫劉聯(lián)軍發(fā)生“赤壁之戰(zhàn)”，曹軍失利，從此奠定了天下三分的態(tài)勢。公元265年，魏滅蜀，又為晉所取代。公元280年晉滅吳，中國重歸統(tǒng)一。歷史上一般將晉取代魏的泰始元年(265年)作為三國結束的年代。因此歷史上正式界定的三國只是公元220 年至265年。但一般認為三國時期應從東漢建安年間直到吳滅亡，大致延續(xù)了一個世紀之久。
The Yellow Turban Uprising towards the end of the Eastern Han Dynasty made it exist in name only and marked the end of the flourishing Qin and Han culture. At that time, local warlords fought against each other. Controlling the Han emperor and ordering the feudal princes in his name,Cao Caounified northChina. To the south of the Yangtze, Sun Quan formed an alliance with Liu Bei. In AD 208 (the 13th year of Jian'an), China was divided into three kingdoms afterCao Cao'stroops were defeated by the allied forces of Sun and Liu in the Battle of Red Cliff. In 265, theKingdomofWeioverthrew theKingdomofShubefore it was replaced by the Jin Dynasty. In 280,Chinawas reunited after Jin overthrew theKingdomofWu. In history, the year 265 (the first year of Taishi), when Jin replaced Wei, is generally considered the end of the Three Kingdoms period, which is thus defined as the period from AD 220 to 265. However, the period is more widely believed to have lasted as long as a century, from the Jian'an Period in the Eastern Han Dynasty to the collapse of Wu.
遺留至今的三國歷史遺跡和遺物眾多，最重要的是曹魏的鄴城。其特征主要有下述幾點：一、城中宮殿區(qū)集中到城內(nèi)北部中央位置；所占面積明顯小于兩漢時期。外朝與內(nèi)朝并列，出現(xiàn)縱貫全城的中軸線。二、居民的里坊區(qū)占城內(nèi)南半部及東北角，近全城二分之一的面積，開中國古代封閉式里坊制城市之先聲。三、鄴城西北部分構筑的三臺，不僅為園林觀賞，更起著軍事制高點的作用。總體看來，曹魏鄴城宮殿的退縮和民居里坊的發(fā)展，縱橫街道和中軸線的出現(xiàn)，對以后的都城平面布局有深遠影響。
There are plenty of historical remains and relics from the Three Kingdoms period, and the most important of them is the City of Ye of theCao Weiperiod. It has the following characteristics:
1) The palace was at the center of the northern part and covered much smaller an area than any palace during the Han Dynasty. The outer court and the inner court were side by side, and there was a central axis across the city.
2) The residential blocks were in the southern half and the northeast corner, covering nearly a half of the city, which wasChina's first enclosed city with residential blocks.
3) The three pavilions built in the northwest not only served for landscaping but also as military commanding heights.
Generally speaking, the recession of the palace, the expansion of the residential blocks and the appearance of crisscross streets and a central axis had far-reaching influence on the design of the plans of capitals in later times.
曹魏時期社會生活中另一項重大的變化是帝王力主薄葬，東漢時皇帝貴族特殊殮服“玉衣”被徹底廢棄。在鄴城附近一直沒有發(fā)現(xiàn)任何曹操陵墓的線索。
Another major social change during theCao Weiperiod was the imperial advocacy of simple burial and the complete abolishment of the jade suit reserved for the emperor and the aristocrats during the Eastern Han Dynasty. No clues aboutCao Cao'stomb have been found in the vicinity of Ye.
曹魏節(jié)葬之風對江南吳地的影響極小，身份地位高的死者葬于具有前堂和后室，前堂左右或有小耳室，墓門前有較短的甬道，前接長斜坡墓道的大型磚室墓，其形制明顯受北方魏墓影響。其中湖北鄂州孫將軍墓最大，全長達9．03米。孫吳墓葬中的隨葬品，以青瓷器為主，除日用器皿外，有各種模型明器如城堡、庖廚用具、家禽家畜及圈廄等。大型墓中還常放置名刺木簡、木謁，還有買地鉛券，銅器，精美的漆器，以及銅弩機、鐵刀等兵器，或放入大量銅錢。朱然墓是孫吳墓厚葬的典型代表，雖遭盜掘，尚殘存隨葬遺物140余件，最引人注目的是大批精美的繪彩漆器。此外，在孫吳墓葬的隨葬遺物中，還出現(xiàn)有與佛教有關的圖紋，陶瓷的谷倉罐(魂瓶)等器上常貼塑坐佛像，蓮溪寺吳墓還出有佛教圖紋的銅帶飾。
Cao Wei'strend of economical burial had precious little influence on the Wu region to the south of the Yangtze. In Wu, a prestigious person would be buried in a large brick tomb with a front hall possibly flanked by small rooms, a back chamber, and a short path in front of the door connected to a long sloping path. The shape of such tombs shows unmistakable influence from Wei tombs in the north. The largest of them is the tomb of General Sun inEzhou,Hebei, which has a total length of 9.03 meters. Objects buried in Wu tombs are dominated by celadon. Besides articles for everyday use, there are funerary models of castles, cooking utensils, poultry, livestock, sties and stables. Large tombs were often found to contain wooden visiting cards, title deeds, bronzeware, exquisite lacquerware, and such weapons as bronze crossbows and iron swords, or plenty of copper coins. The tomb of Zhu Ran is typical of Wu tombs with expensive buried objects. Though it has been visited by grave robbers, there remain 140-odd buried objects, the most attractive among them being a large quantity of exquisitely painted lacquerware. Besides, images and designs related to Buddhism have been found among buried objects in Wu tombs. Images of sitting Buddha are frequently found to be attached to ceramic barn-shaped jars (soul jars), and bronze belt ornaments with Buddhist images have been unearthed from the Wu tomb in Lianxisi.
曹魏節(jié)葬之風同樣對蜀漢影響不大。蜀漢墓葬盛行多室崖墓，隨葬品豐盛，有大量陶俑和陶樓等模型。
The trend did not have much influence on theKingdomofShueither, where cliffside tombs with multiple chambers were prevalent. They abound in buried objects, including plenty of pottery figurines and pottery models of towers.
考古發(fā)掘出土的三國文物以青瓷器、銅鏡和兵器最值得注意。
The most noteworthy among the cultural relics from the Three Kingdoms period unearthed by archeologists are celadon, bronze mirrors and weapons.
首先看青瓷器。由原始瓷器向瓷器的轉化是在東漢晚期?？脊虐l(fā)掘表明，浙江境內(nèi)的三國時瓷窯，已普遍采用龍窯燒瓷。孫吳時期的青瓷器，過去有少量傳世品。考古工作發(fā)現(xiàn)了大量的青瓷。在南京市趙士岡孫吳墓中出土的赤烏十四年(251年)的青瓷虎子。有甘露元年(265年)銘文的青瓷熊燈和一對青瓷臥羊尊同出于南京市清涼山孫吳墓中，是孫吳青瓷器中的佳作。在南京雨花臺長崗村5號吳墓出土的一件青釉壺上以褐彩描畫出羽人、瑞獸，仙草與祥云，外罩青黃色釉，更表明當時已經(jīng)掌握了燒制釉下彩的工藝。大量制工精致的孫吳青瓷器的出土，表明瓷器已成為人們?nèi)粘Ｉ钪斜夭豢缮俚挠镁摺?/span>
First let's look at celadon. The transition from primitive porcelain to porcelain in the real sense of the term took place in the late Eastern Han Dynasty. Findings of archeological excavations show that 'dragon kilns' were widely used for making porcelain inZhejiangduring the Three Kingdoms period. While there was only a small amount of celadon of the Wu period handed down from the past, archeologists have discovered a large quantity of celadon. A celadon huzi dating from 251 (the 14th year of Chiwu) was unearthed from a Wu tomb at Zhaoshigang inNanjing. A bear-shaped celadon lamp with an inscription dating it to the first year of Ganlu (AD 265) and a pair of sheep-shaped celadon zun, masterpieces among Wu celadon, were found in a Wu tomb at Qingliangshan,Nanjing. Furthermore, the blue-glazed pot unearthed from Wu Tomb 5 at Changgang Village, Yuhuatai, Nanjing, painted in brown with a winged man, an auspicious beast, immortal grass and auspicious clouds and coated with bluish yellow glaze, shows that technique of making under-glaze decoration had been mastered at that time. The discovery of plenty of fine Wu celadon shows that porcelain was already indispensable in everyday life.
再看青銅鏡。中原地區(qū)的銅鏡制造業(yè)與漢代相比，呈現(xiàn)出衰微的態(tài)勢。但江南吳地的銅鏡鑄造業(yè)十分興盛，制鏡的地點集中在當時的吳縣(今江蘇省蘇州)、山陰(今浙江省紹興)和武昌(今湖北省鄂州)，除了鑄造自東漢以來流行的盤龍鏡、夔鳳鏡、方格規(guī)矩鏡等舊式銅鏡外，大量鑄造的是更為精美的各種花紋復雜、構圖多變的神獸鏡和畫像鏡。有的銅鏡還采用佛像作為裝飾。
Next let's look at bronze mirrors. Bronze mirror production was less prosperous than it had been in the Han Dynasty in the Central Plains, but it was thriving in the Wu region to the south of the Yangtze. It was concentrated in Wu County (the presentSuzhouinJiangsu), Shanyin (the present Shaoxing inZhejiang) and Wuchang (the present Ezhou inHubei). Besides old-fashioned mirrors fashionable since the Eastern Han Dynasty, such as those with coiled dragons, phoenixes and checkers, more exquisite mirrors with divine animal images and portraits, which had complicated designs and diverse compositions, were made in large quantities. Some mirrors were decorated with Buddha images.
最后要注意的是三國時期的兵器。雖然當時社會經(jīng)濟凋敝，但是為了取得戰(zhàn)爭的勝利，各國都極力關注鋼鐵冶煉技術的進展，特別是將“百煉鋼”的技術應用于刀劍的制作，曹操、曹丕父子都曾親自參與制作百煉鋼刀。孫權也曾制作過許多名貴的刀劍。諸葛亮在前代可以一次發(fā)射多矢扣“連弩”的基礎上進行改革，“謂之元戎”。三國時期的兵器主要是鋼鐵制造的戟、矟、矛、刀、劍和箭鏃，還有裝在木弩臂上的青銅弩機。長戟和長矟都是當時騎兵的主要格斗兵器。三國時已有人和戰(zhàn)馬都披有鎧甲的重裝騎兵，其明光鎧、黑光鎧、兩當鎧和環(huán)鎖鎧都是當時新類型，對后來晉至南北朝時期鎧甲的發(fā)展有很大影響。
Finally we need to pay attention to weapons of the Three Kingdoms period. Despite the general poverty, all the kingdoms were greatly concerned about the development of iron and steel smelting techniques, especially the application of repeatedly refined steel to the making of swords.Cao Caoand his sonCao Pipersonally took a hand in making such swords, and Sun Quan also fashioned a number of precious swords. Zhuge Liaang improved the repeating crossbow, which could shoot multiple arrows at once, and called it 'Yuanrong'. The major weapons in the Three Kingdoms period were the halberd, the long spear, the lance, the saber, the sword and the arrowhead, all made of iron, and the bronze crossbow machine mounted in wooden arms. The long halberd and the long spear were the major combat weapons of the cavalry. There was already armored cavalry in which both men and horses were armored. The mingguang armor, the heiguang armor, the liangdang armor and the huansuo armor were the new types, which had much influence on the development of armor from the Jin Dynasty to the Southern and Northern Dynasties.
在各地吳墓出土的銅帶具、銅鏡和青瓷器皿的裝飾紋樣中，常?？梢钥吹接嘘P佛教藝術的圖紋。例如在湖北省武昌吳墓中發(fā)現(xiàn)過飾有佛像的銅帶具，在湖北省鄂州、江蘇省南京等地發(fā)現(xiàn)過用佛像作圖紋的銅鏡、青瓷器和陶器。這說明佛教在江南地區(qū)早已流行，但起初人們對佛像還缺乏像后世那樣的崇敬，隨意把它作為裝飾圖紋。東晉以后，隨著佛教進一步發(fā)展，佛像就不再用作裝飾紋樣。
Images related Buddhist art are frequently seen among decorative designs on bronze belt parts, bronze mirrors and celadon vessels unearthed from Wu tombs in various places. For instance, bronze belt parts with Buddhist images were found in a Wu tomb inWuchang,Hubei, and bronze mirrors, celadon articles and pottery articles with Buddha images were found inEzhou,HubeiandNanjing,Jiangsu. This shows that Buddhism had already been spread to the south of the Yangtze, where Buddha images were not so highly revered as they would be later and were casually used for decoration. In the Eastern Jin Dynasty, with the further development of Buddhism, such images ceased to be used for decoration.
三國時期，是秦漢盛世結束并向隋唐盛世的過渡階段。其間戰(zhàn)爭不斷，發(fā)生了許多在中國古代戰(zhàn)爭史中堪稱經(jīng)典的戰(zhàn)例，如 “官渡之戰(zhàn)”、“赤壁之戰(zhàn)”、“夷陵之戰(zhàn)”等等。不僅在軍事史研究中占有重要位置，而且戰(zhàn)爭的進程極具故事性、也吸引著普通百姓的注意力。這一時期歷史名人輩出。曹操一人集政治家、軍事家、文學家于一身。其子曹丕、曹植也以詩文著稱，三曹與孔融等“建安七子”都是建安時期(196～219年)文學的代表人物。蜀丞相諸葛亮更被后人視為智慧人物的代表，蜀將關羽則被后人視為武圣。至于三國時期的賢臣和勇將，更是數(shù)不勝數(shù)，僅“赤壁之戰(zhàn)”一次戰(zhàn)爭中登場的人物，除曹操、劉備、孫權外，孫吳有周瑜、張昭、魯肅、黃蓋；劉備軍中有諸葛亮、關羽、張飛、趙云；以及曹營的張遼、曹仁等眾多名將。因此在正史以外，三國故事更受到歷代民眾的喜愛。在宋代民間文藝的“小說”、“講史”中，三國故事就是主要的題材，出現(xiàn)了講史類話本《三國志平話》。在藝人的講史中，三國志的歷史事跡日趨故事化，最后到元末明初形成《三國志通俗演義》。從此三國故事廣泛流傳，家喻戶曉，更被編成各種地方戲曲，以致普通百姓對三國人物的認識概出于小說戲曲。在明清直至近代的文物中，大量出現(xiàn)依據(jù)小說戲曲創(chuàng)作的三國故事的繪畫和雕塑作品。特別是民間喜愛的年畫、剪紙中，三國故事長久流傳不衰，具有極強的藝術生命力。
The Three Kingdoms period marked the transition from the heyday of Qin and Han to the heyday of Sui and Tang. It saw continual wars and battles that became classic in the history of ancient Chinese wars, such as the Battle of Guandu, the Battle of Red Cliff, and the Battle of Yiling. The wars are important subjects in the study of military history and, being dramatic, appeal to ordinary people. The period also saw the appearance of great historic figures.Cao Caowas politician, strategist and man of letters rolled into one. His sonsCao PiandCao Zhiwere also known for their literary achievement. The 'seven leading writers of the Jian'an Period (196-219)', including the Caos and Kong Rong, were leading literary figures during the period. Zhuge Liang, prime minister of Shu, has been considered representative of wise men. Guan Yu, a general of Shu, is called 'the Martial Sage'. Besides them, there are numerous prominent statesmen and valiant warriors. In the Battle of Red Cliff alone, apart fromCao Cao, Liu Bei and Sun Quan, there were Zhou Yu, Zhang Zhao, Lu Su and Huang Gai from Wu, Zhuge Liang, Guan Yu, Zhang Fei and Zhao Yun in Liu Bei's army, and Zhang Liao andCao Renin Cao's camp. Therefore, besides 'orthodox history', stories about the Three Kingdoms have been popular throughout the ages. They were a major subject matter in folk oral art during the Song Dynasty, when there appeared San Guo Zhi Ping Hua (Popular Stories based on The History of the Three Kingdoms), a historical script for story-telling. Historical facts in The History of the Three Kingdoms were made more and more dramatic by story-tellers until the appearance of The Popular Romance of the Three Kingdoms during the turn from the Yuan Dynasty to the Ming Dynasty. Since then, stories about the Three Kingdoms have been so widely spread and well-known in the form of fiction and opera that these have become the only sources for ordinary people to know anything about historical figures of the period. A great many paintings and sculptures about such stories based on fiction or opera exist among cultural relics dating from the Ming and Qing Dynasties to the modern times. In particular, such stories have been an enduring subject matter in New Year pictures and paper-cuts favored by the folk.
論曹魏鄴城遺址與銅雀三臺遺跡
The Site of the City of Ye of theCao Wei Periodand the Ruins of the Three Pavilions
朱巖石 中國社會科學院考古研究所
Zhu Yanshi, Archeology Institute of theChineseAcademyof Social Sciences
鄴城遺址位于河北省臨漳縣。鄴城遺址包括鄴北城和鄴南城，大體呈“日”字型結構。鄴北城也稱曹魏鄴城，先后是曹魏(204～265)、后趙(335～350)、冉魏(350～352)、前燕(357～370)的國都。鄴南城又稱東魏北齊鄴城，是北魏分裂后東魏(534～550)、北齊(550～577)王朝的首都。建筑于鄴北城西城墻之上的銅雀三臺遺跡，是曹操在東漢末年所建的三個宏偉的高臺建筑，現(xiàn)在鄴城遺存幾乎消失殆盡，惟有三臺中的金虎、銅雀二臺屹立于漳河之濱。
The site of the City of Ye is located inLinzhang County,Hebei. It consists of a northern part and a southern part, with a layout resembling the Chinese character 日. The northern part, also called theCaoWeiCityof Ye, was successively the capital ofCao Wei(204-265), the Later Zhao Dynasty (335-350), Ran Wei (350-352), and the Former Yan Dynasty (357-370). The southern part, also called the Eastern Wei and Northern Qi City of Ye, was the capital of the Eastern Wei Dynasty (534-550) and the Northern Qi Dynasty (550-577) after the split of the Northern Wei Dynasty. On the west city wall of the northern part are the ruins of three imposing pavilions built byCao Caotowards the end of the Eastern Han Dynasty. All the remains of the city are gone except two of the pavilions, Golden Tiger and Bronze Bird, standing by theZhangRiver.
一
One
曹魏鄴城建于建安九年(204年)，考古勘探發(fā)掘工作始于1983年，逐漸發(fā)現(xiàn)確認了鄴城遺址的城墻、城門、道路、宮殿、水渠、城壕等遺跡。勘探出的曹魏鄴城東西2400 至2620米，南北1700米，城墻系夯土筑成，寬約15～18米。
TheCaoWeiCityof Ye was built in 204, the 9th year of Jian'an. Its archeological excavation began in 1983, and such remains as the city wall, the city gates, roads, the palace, the canal and the moat have been discovered and identified. The city has been found to measure 2,400 to 2,620 meters from the east to the west and 1,700 meters from the north to the south. The wall, built of rammed earth, has a width of 15 to 18 meters.
曹魏鄴城突出了全城中軸線的地位。鄴城呈規(guī)整的長方形，正南城門中陽門位居南城墻正中，中陽門內(nèi)大道直抵宮城正南門，向北直線延伸建筑有宮城正殿文昌殿，上述重要的建筑物和道路以點線構成了曹魏鄴城的中軸線。都城中軸線規(guī)劃思想的形成及其實踐標志著中國古代都城進入了一個新時期，在中國古代都城發(fā)展史上具有劃時代的意義。
The city gave prominence to the central axis. It is in the shape of a regular rectangle. Zhongyang Gate, the gate in the due south, was in the middle of the south wall. Within the gate was a broad road leading straight to the south central gate of the palace and extending north to Wenchang Hall, the principal hall of the palace. The road and these major structures form the central axis of the city. The conception of the central axis of a capital and its application marked the beginning of a new era for ancient Chinese capitals as a milestone in the history of their development.
曹魏鄴城確立都城中單一宮城的制度。曹魏鄴城之前的都城，如西漢長安城、秦咸陽城等都是多宮城，長安城中的宮城面積占去整個都城面積的三分之二。曹操規(guī)劃建設的宮城位于鄴城北半?yún)^(qū)的中部，由于宮城正南門和文昌殿坐落在全城中軸線上，全城中軸線也是宮城的中軸線，既突出了全城中軸線的重要性，同時也把單一宮城更加有機地納入到整個都城規(guī)劃之中。單一宮城制度一經(jīng)確立，中國歷代王朝的都城規(guī)劃無一改變。
The city established the rule of a single palace in the capital. Each of the previous capitals, such as the Chang'an of the Western Han Dynasty and Xianyang of the Qin Dynasty, had more than one palace, the palaces in Chang'an covering two thirds of its area. The palace planned and built byCao Caowas at the center of the northern half. The location of the central south gate of the palace and Wenchang Hall on the city's central axis, which was also the central axis of the palace, highlighted the axis and better integrated the single palace into the plan of the entire capital. Once established, the rule of a single palace in the capital was never changed in later dynasties.
區(qū)劃規(guī)整功能有別的設計理念得到充分地體現(xiàn)。在中軸線以外，從東城門建春門到西城門金明門的東西大道是曹魏鄴城唯一的東西大道，其北半?yún)^(qū)居中的是宮城，宮城之東有相宮署區(qū)，東北隅是貴族居住區(qū)，東城之西是皇家園林區(qū)。南半?yún)^(qū)分布有里坊。曹魏鄴城內(nèi)共發(fā)現(xiàn)了六條主要大道，其中東西向大道一條（寬17米），南北向大道五條（寬13米）。形成垂直交叉的交通網(wǎng)絡系統(tǒng)。
The design concept of neatly planned areas with different functions was well applied. Besides the central axis, the street from Jianchun Gate in the east and Jinming Gate in the west was the only east-west streetin the city. At the center of the northern half was the palace. To the east of the palace were government offices, in the northeast corner was the residential area of aristocrats, and to the west of the east side of the city was an imperial garden. There were residential blocks of common people in the southern half. Six major streets have been discovered in the city. One of them ran from east to west and was 17 meters wide, while the rest ran from north to south and were 13 meters wide each. These formed a crisscross traffic network.
中軸線規(guī)劃思想、單一宮城制度、空間功能分區(qū)的設計理念為之后的中國歷代都城規(guī)劃所沿襲，足見曹魏鄴城影響的深遠。
The far-reaching influence of the city was indicated by the fact that the concept of the central axis, the single-palace rule and the functional division into areas were followed in the planning of the capitals of the later dynasties.
二
Two
曹魏鄴城的銅雀臺、金虎臺和冰井臺也有特點。
The Bronze Bird Pavilion, the Golden Tiger Pavilion and the Icy Well Pavilion in theCaoWeiCityof Ye were also special.
銅雀臺建于建安十五年(210年)，金虎臺建于建安十八年(213年)，冰井臺建于建安十九年(214年)，以銅雀臺最為高大，達十丈高，其余二臺均為八丈。金虎臺有屋百九間，銅雀臺有屋百余間，冰井臺有屋百四十五間。其中冰井臺上有冰室，室內(nèi)有數(shù)井，用來保存冰和石墨，還有粟窖和鹽窖。三臺之間以閣道相通。曹魏鄴城的防衛(wèi)系統(tǒng)通過考古工作確認，獨具特色的就是沿城墻建筑的三臺建筑群。
The Bronze Bird Pavilion was built in 210 (the 15th year of Jian'an), the Golden Tiger Pavilion in 213 (the 18th year of Jian'an), and the Icy Well Pavilion in 214 (the 19th year of Jian'an). The Bronze Bird Pavilion, with a height of ten zhang, was the largest, while each of the other two was eight zhang high. The Golden Tiger Pavilion had 109 chambers, the Copper Bird Pavilion over 100, and the Icy Well Pavilion 145. The Icy Well Pavilion was topped by an ice chamber housing several wells for preserving ice and graphite as well cellars for keeping millet and salt. The three pavilions were linked by flying corridors (gedao). Archeologists have established that the complex of the three terraces formed a unique feature of the city's defense works.
銅雀三臺遺跡位于今臨漳縣三臺村之西、鄴鎮(zhèn)村之北，是目前曹魏鄴城僅存于地面的遺存。銅雀臺位居三臺中間，南距金虎臺83米。銅雀臺已被嚴重破壞，僅存臺基東南角，夯土臺基現(xiàn)存南北50、東西43、高4～6米。冰井臺則完全被漳河的洪水吞噬，具體位置無法確認。
The ruins of the three pavilions are located to the west ofSantaiVillageand to the north ofYezhenVillageinLinzhangCounty. They are the city's only remains above the ground. The Bronze Bird Pavilion is in the middle and 83 meters from the Golden Tiger Pavilion in the south. Severely damaged, it retains nothing but the southeast corner of its base built of rammed earth, which measures 50 meters from north to south and 43 meters from east to west, with a height of four to six meters. The location of the Icy Well Pavilion cannot be found because it has been completely wiped out by flood from theZhangRiver.
銅雀三臺舉世聞名不僅僅是因為它的軍事功能，更重要的是在中國建筑史上有一席之地并在這里引發(fā)了文學家們的無限遐思。曹操依托銅雀三臺和西側銅爵園的美景，時常宴請賓客。當時文學家對曹操宴請賓客的活動進行了文學描繪。這其中也包括了“建安七子”王粲、陳琳、應旸、劉楨、徐干等人。
The three pavilions are well-known not only for their military use; more importantly, they were important in the history of Chinese architecture and furnished men of letters with infinite inspiration.Cao Caoused to feast guests on the three pavilions, which commanded a charming view of theBronzeCupGardento the west. Literary descriptions of such feasts were made by contemporary writers, including five of the 'seven leading writers of the Jian'an Period'--Wang Can, Chen Lin, Ying Yang, Liu Zhen and Xu Gan.
三
Three
自1983年鄴城考古隊在此開始考古工作以來，迄今已持續(xù)了25年，獲得了一批重要的出土遺物。如出土于銅雀臺南側試掘的探溝中的青石角螭首，表面有彩繪，全長189.6厘米，是銅雀臺的圍欄的構件。從中可以推測，銅雀臺的側立面收分10°，高臺頂層設置石刻圍欄。出土的青石螭首其巨大的體積是宏偉壯觀銅雀三臺的真實寫照。
Archeological exploration of the city has been going on for twenty-five years since it was first conducted by the archeological team of Ye in 1983, revealing a number of important unearthed relics. For instance, the bluestone dragon head that decorated a corner unearthed from the trial trench to the south of the Bronze Bird Pavilion, with colored patterns and a total length of189.6 cm, was a component of the pavilion's railing. It can be inferred from this component that the side elevation of the pavilion inclined inwards by 10 degrees and that there was a railing of carved stones at the top. The bulk of the unearthed bluestone dragon head mirrors the magnificence of the three pavilions.
【發(fā)布時間】2014-01-07 【信息來源】管理員 【瀏覽點擊】2563次
