第一篇：兵马俑中英文导游词
秦始皇兵马俑英文导游词
Emperor Qin Shihuang’s Mausoleum and the Terra-cotta Warriors and Horses Museum Emperor Qin Shihuang (259-210B.C.) had Ying as his surname and Zheng as his given name. He name to the throne of the Qin at age 13, and took the helm of the state at age of 22. By 221 B.C., he had annexed the six rival principalities of Qi, Chu, Yan, Han, Zhao and Wei,
In the year 221 B.C., when he unified the whole country, Ying Zheng styled himself emperor. He named himself Shihuang Di, the first emperor in the hope that his later generations be the second, the third even the one hundredth and thousandth emperors in proper order to carry on the hereditary system. Since then, the supreme feudal rulers of China’s dynasties had continued to call themselves Huang Di, the emperor.
After he had annexed the other six states, Emperor Qin Shihuang abolished the enfeoffment system and adopted the prefecture and county system. He standardized legal codes, written language, track, currencies, weights and measures. To protect against harassment by the Hun aristocrats. Emperor Qin Shihuang ordered the Great Wall be built. All these measures played an active role in eliminating the cause of the state of separation and division and strengthening the unification of the whole country as well as promotion the development of economy and culture. They had a great and deep influence upon China’s 2,000 year old feudal society.
Emperor Qin Shihuang ordered the books of various schools burned except those of the Qin dynasty’s history and culture, divination and medicines in an attempt to push his feudal autocracy in the ideological field. As a result, China’s ancient classics had been devastated and destroy. Moreover, he once ordered 460 scholars be buried alive. Those events were later called in history“the burning of books and the burying of Confucian scholars.”
Emperor Qin Shihuang，for his own pleasure, conscribed several hundred thousand convicts and went in for large-scale construction and had over seven hundred palaces built in the Guanzhong Plain. These palaces stretched several hundred li and he sought pleasure from one palace to the other. Often nobody knew where he ranging treasures inside the tomb, were enclosed alive.
Emperor Qin Shihuang’s Mausoleum has not yet been excavated. What looks like inside could noly be known when it is opened. However, the three pits of the terra-cotta warriot excavated outside the east gate of the outer enclosure of the necropolis can make one imagine how magnificent and luxurious the structure of Emperor Qin Shihuang’s Mausoleum was.
No.1 Pit was stumbled upon in March 1974 when villagers of Xiyang Village of Yanzhai township, Lintong County, sank a well 1.5km east of the mausoleum. In 1976, No.2 and 3 Pits were found 20m north of No.1 Pit respectively after the drilling survey. The terra-cotta warriors and horses are arrayed according to the Qin dynasty battle formation, symbolizing the troops keeping vigil beside the mausoleum. This discovery aroused much interest both at home and abroad. In 1975, a museum, housing the site of No.1 and covering an area of 16,300 square meters was built with the permission of the State Council. The museum was formally opened to public on Oct.1, the National Day, 1979.
No.1 Pit is 230 meters long from east to west, 62m wide from north to south and 5m deep , covering a total area of 14,260 square meters. It is an earth-and-wood structure in the shape of a tunnel. There are five sloping entrances on the eastern and western sides of the pit respectively. The pit is divided into eleven corridors by ten earthen partition walls, and the floors are paved with bricks. Thick rafters were placed onto the walls (but now one can only see their remains), which were covered with mats and then fine soil and earth. The battle formation of the Qin dynasty, facing east. In the east end are arrayed three lines of terra-cotta warriors, 70 pieces in each, totaling 210 pieces. They are supposed to be the van of the formation. Immediately behind them are 38 columns of infantrymen alternating with war chariots in the corridors, each being 180m long. They are probably the main body of the formation. There is one line of warriors in the left, right and west ends respectively, facing outwards. They are probably the flanks and the rear. There are altogether 27 trial trench, it is assumed that more than 6,000 clay warriors and horses could be unearthed from No.1 Pit.
No.2 Pit sis about half the size of No.1 Pit, covering about 6,000 square meters Trail diggings show this is a composite formation of infantry, cavalry and chariot soldiers, from which roughly over 1,000 clay warriors, and 500 chariots and saddled horses could be unearthed. The 2,000-year-old wooden chariots are already rotten. But their shafts, cross yokes, and wheels, etc. left clear impressions on the earth bed. The copper parts of the chariots still remain. Each chariot is pulled by four horses which are one and half meters high and two metres long. According to textual research, these clay horses were sculptures after the breed in the area of Hexi Corridor. The horses for the cavalrymen were already saddled, but with no stirups.
No.3 Pit covers an area of 520m2 with only four horses, one chariot and 68 warriors, supposed to be the command post of the battle formation. Now, No.2 and 3 Pits have been refilled, but visitors can see some clay figures and weapons displayed in the exhibition halls in the museum that had been unearthed from these two pits. The floors of both No.1 and 2 Pits were covered with a layer of silt of 15 to 20cm thick. In these pits, one can see traces of burnt beams everywhere, some relics which were mostly broken. Analysis shows that the pits were burned down by Xiang Yu, leader of a peasant army. All of the clay warriors in the three pits held real weapons in their hands and face east, showing
Emperor
Qin
Shihuang’s
strong determination of wiping out the six states and unifying the whole country.
The height of the terra-cotta warriors varies from 1.78m, the shortest, to 1.97m, the tallest. They look healthy and strong and have different facial expressions. Probably they were sculpted by craftsmen according to real soldiers of the Qin dynasy. They organically combined the skills of round engraving, bas-relief and linear engraving, and utilized the six traditional folk crafts of sculpturing, such as hand-moulding, sticking, cutting, painting and so on. The clay models were then put in kilns, baked and colour-painted. As the terra-cotta figures have beeb burnt and have gone through the natural process of decay, we can’t see their original gorgeous colours. However, most of the terra-cotta figures bear the trace of the original colours, and few of them are still as bright as new. They are found to be painted by mineral dyestuffs of vermilion, bright red, pink dark green, powder green, purple, blue, orange, black and white colours.
Thousands of real weapons were unearthed from these terra-cotta army pits, including broad knives, swords, spears, dagger-axes, halberds, bows, crossbows and arrowheads. These weapons were exquisitely made. Some of theme are still very sharp, analyses show that they are made of alloys of copper and tin, containing more than ten kinds of other metals. Since their surfaces were treated with chromium, they are as bright as new, though buried underground for more than 2,000 years. This indicates that Qin dynasty’s
metallurgical
technology
and weapon-manufacturing technique already reached quite a high level.
In December 1980, two teams of large painted bronze chariots and horses were unearthed 20 metres west of the mound of Emperor Qin Shihuang’s Mausoleum. These single shaft four-horse chariots each comprises 3,462 spare parts, and has a body with two compartments, one behind the other, and an elliptical umbrella like canopy. The four horses harnessed to the chariot are 65-67 centimeters tall. The restored bronze chariots and horses are exact imitations of true chariot, horse and driver in half life-size.
The chariots and horses are decorated with coloured drawings against white background. They have been fitted with more than 1,500 piecese of gold and silvers and decorations, looking luxurious, splendid and graceful. Probably they were meant for the use of Emperor Qin Shihuang’s soul to go on inspection. The bronze chariots and horses were made by lost wax casting, which shows a high level
of
technology.
For
instance,
the tortoise-shell-like canopy is about 4mm thick, and the window is only 1mm thick on which are many small holes for ventilation. According to a preliminary study, the technology of manufacturing the bronze chariots and horses has involved casting, welding, reveting, inlaying embedding and chiseling. The excavation of the bronze chariots and horses provides extremely valuable material and data for the textual research of the metallurgical technique, the mechanism of the chariot and technological modeling of the Qin dynasty. No.2 bronze chariot and horses now on display were found broken into 1,555 pieces when excavated. After two-and-half years’ careful and painstaking restoration by archaeologists and various specialists, they were formally exhibited in the museum on October 1, 1983. No.1 bronze chariot hand horses are on display from 1988.
第二篇：陕西西安秦始皇兵马俑英文导游词
Emperor Qin Shihuang’s Mausoleum and the Terra-cotta Warriors and Horses Museum Emperor Qin Shihuang (259-210B.C.) had Ying as his surname and Zheng as his given name. He name to the throne of the Qin at age 13, and took the helm of the state at age of 22. By 221 B.C., he had annexed the six rival principalities of Qi, Chu, Yan, Han, Zhao and Wei, and established the first feudal empire in China’s history. In the year 221 B.C., when he unified the whole country, Ying Zheng styled himself emperor. He named himself Shihuang Di, the first emperor in the hope that his later generations be the second, the third even the one hundredth and thousandth emperors in proper order to carry on the hereditary system. Since then, the supreme feudal rulers of China’s dynasties had continued to call themselves Huang Di, the emperor. After he had annexed the other six states, Emperor Qin Shihuang abolished the enfeoffment system and adopted the prefecture and county system. He standardized legal codes, written language, track, currencies, weights and measures. To protect against harassment by the Hun aristocrats. Emperor Qin Shihuang ordered the Great Wall be built. All these measures played an active role in eliminating the cause of the state of separation and division and strengthening the unification of the whole country as well as promotion the development of economy and culture. They had a great and deep influence upon China’s 2,000 year old feudal society. Emperor Qin Shihuang ordered the books of various schools burned except those of the Qin dynasty’s history and culture, divination and medicines in an attempt to push his feudal autocracy in the ideological field. As a result, China’s ancient classics had been devastated and destroy. Moreover, he once ordered 460 scholars be buried alive. Those events were later called in history“the burning of books and the burying of Confucian scholars.” Emperor Qin Shihuang，for his own pleasure, conscribed several hundred thousand convicts and went in for large-scale construction and had over seven hundred palaces built in the Guanzhong Plain. These palaces stretched several hundred li and he sought pleasure from one palace to the other. Often nobody knew where he ranging treasures inside the tomb, were enclosed alive. Emperor Qin Shihuang’s Mausoleum has not yet been excavated. What looks like inside could noly be known when it is opened. However, the three pits of the terra-cotta warriot excavated outside the east gate of the outer enclosure of the necropolis can make one imagine how magnificent and luxurious the structure of Emperor Qin Shihuang’s Mausoleum was.
No.1 Pit was stumbled upon in March 1974 when villagers of Xiyang Village of Yanzhai township, Lintong County, sank a well 1.5km east of the mausoleum. In 1976, No.2 and 3 Pits were found 20m north of No.1 Pit respectively after the drilling survey. The terra-cotta warriors and horses are arrayed according to the Qin dynasty battle formation, symbolizing the troops keeping vigil beside the mausoleum. This discovery aroused much interest both at home and abroad. In 1975, a museum, housing the site of No.1 and covering an area of 16,300 square meters was built with the permission of the State Council. The museum was formally opened to public on Oct.1, the National Day, 1979. No.1 Pit is 230 meters long from east to west, 62m wide from north to south and 5m deep , covering a total area of 14,260 square meters. It is an earth-and-wood structure in the shape of a tunnel. There are five sloping entrances on the eastern and western sides of the pit respectively. The pit is divided into eleven corridors by ten earthen partition walls, and the floors are paved with bricks. Thick rafters were placed onto the walls (but now one can only see their remains), which were covered with mats and then fine soil and earth. The battle formation of the Qin dynasty, facing east. In the east end are arrayed three lines of terra-cotta warriors, 70 pieces in each, totaling 210 pieces. They are supposed to be the van of the formation. Immediately behind them are 38 columns of infantrymen alternating with war chariots in the corridors, each being 180m long. They are probably the main body of the formation. There is one line of warriors in the left, right and west ends respectively, facing outwards. They are probably the flanks and the rear. There are altogether 27 trial trench, it is assumed that more than 6,000 clay warriors and horses could be unearthed from No.1 Pit. No.2 Pit sis about half the size of No.1 Pit, covering about 6,000 square meters Trail diggings show this is a composite formation of infantry, cavalry and chariot soldiers, from which roughly over 1,000 clay warriors, and 500 chariots and saddled horses could be unearthed. The 2,000-year-old wooden chariots are already rotten. But their shafts, cross yokes, and wheels, etc. left clear impressions on the earth bed. The copper parts of the chariots still remain. Each chariot is pulled by four horses which are one and half meters high and two metres long. According to textual research, these clay horses were sculptures after the breed in the area of Hexi Corridor. The horses for the cavalrymen were already saddled, but with no stirups.
No.3 Pit covers an area of 520m2 with only four horses, one chariot and 68 warriors, supposed to be the command post of the battle formation. Now, No.2 and 3 Pits have been refilled, but visitors can see some clay figures and weapons displayed in the exhibition halls in the museum that had been unearthed from these two pits. The floors of both No.1 and 2 Pits were covered with a layer of silt of 15 to 20cm thick. In these pits, one can see traces of burnt beams everywhere, some relics which were mostly broken. Analysis shows that the pits were burned down by Xiang Yu, leader of a peasant army. All of the clay warriors in the three pits held real weapons in their hands and face east, showing Emperor Qin Shihuang’s strong determination of wiping out the six states and unifying the whole country. The height of the terra-cotta warriors varies from 1.78m, the shortest, to 1.97m, the tallest. They look healthy and strong and have different facial expressions. Probably they were sculpted by craftsmen according to real soldiers of the Qin dynasy. They organically combined the skills of round engraving, bas-relief and linear engraving, and utilized the six traditional folk crafts of sculpturing, such as hand-moulding, sticking, cutting, painting and so on. The clay models were then put in kilns, baked and colour-painted. As the terra-cotta figures have beeb burnt and have gone through the natural process of decay, we can’t see their original gorgeous colours. However, most of the terra-cotta figures bear the trace of the original colours, and few of them are still as bright as new. They are found to be painted by mineral dyestuffs of vermilion, bright red, pink dark green, powder green, purple, blue, orange, black and white colours. Thousands of real weapons were unearthed from these terra-cotta army pits, including broad knives, swords, spears, dagger-axes, halberds, bows, crossbows and arrowheads. These weapons were exquisitely made. Some of theme are still very sharp, analyses show that they are made of alloys of copper and tin, containing more than ten kinds of other metals. Since their surfaces were treated with chromium, they are as bright as new, though buried underground for more than 2,000 years. This indicates that Qin dynasty’s metallurgical technology and weapon-manufacturing technique already reached quite a high level.
In December 1980, two teams of large painted bronze chariots and horses were unearthed 20 metres west of the mound of Emperor Qin Shihuang’s Mausoleum. These single shaft four-horse chariots each comprises 3,462 spare parts, and has a body with two compartments, one behind the other, and an elliptical umbrella like canopy. The four horses harnessed to the chariot are 65-67 centimeters tall. The restored bronze chariots and horses are exact imitations of true chariot, horse and driver in half life-size. The chariots and horses are decorated with coloured drawings against white background. They have been fitted with more than 1,500 piecese of gold and silvers and decorations, looking luxurious, splendid and graceful. Probably they were meant for the use of Emperor Qin Shihuang’s soul to go on inspection. The bronze chariots and horses were made by lost wax casting, which shows a high level of technology. For instance, the tortoise-shell-like canopy is about 4mm thick, and the window is only 1mm thick on which are many small holes for ventilation. According to a preliminary study, the technology of manufacturing the bronze chariots and horses has involved casting, welding, reveting, inlaying embedding and chiseling. The excavation of the bronze chariots and horses provides extremely valuable material and data for the textual research of the metallurgical technique, the mechanism of the chariot and technological modeling of the Qin dynasty. No.2 bronze chariot and horses now on display were found broken into 1,555 pieces when excavated. After two-and-half years’ careful and painstaking restoration by archaeologists and various specialists, they were formally exhibited in the museum on October 1, 1983. No.1 bronze chariot hand horses are on display from 1988.
第三篇：兵马俑导游词
今天，我们将参观秦兵马俑博物馆。秦兵马俑博物馆位于酉安市东 35 公里处，从喜来 登酒店坐车到那里大约需要 50 分钟时间。自秦兵马俑博物馆于 1979 年 10 月 1 日开馆至 今，已有为效众多国家的党政首脑都参观过这个博物馆，更有数以百万计的中外游客不远 干里来参观这个人类奇迹。法国总统希拉克曾留言说过：“世界上原有七大奇迹，秦兵马 俑的发现，可以说是第八大奇迹了。不看金字塔.不算真正到过埃及‘不看秦俑，不算真 正到过中国。”美国前副总统蒙代尔也说;“这是真正的奇迹。全世界人民都应该到这里 看一看。”从这些高度凝练的话语中，我们不难看出秦俑的历史价值及艺术价值。下面， 我想把秦始皇这位成就一代伟业的历史巨人介绍给诸位，以便使大家能对秦始皇兵马俑和 与之相关的历史有一个较详尽的了解。 谈
便利，以利经济文化的交流。他将战国时期秦、赵、燕三国修筑的长城连在一起后.又加 以扩展，形成了西起甘肃临挑，东到辽东因石的万里长城，有效地遏制 tjb 方游牧部族对 案朝的骚扰。 中国皇帝大都为自己营造巨大而豪华的陵墓。在这一点上，案始皇也不例外。在他 13 岁刚 即位时，就下令为其修建陵墓。这座原高 120 米.周长 2000 多米的巨大陵丘、虽经风雨侵 蚀和人为破坏，现在仍有 76 米之高，长 400 多米之大.案始皇把都城威阳微缩于自己的陵 园内，其布局几乎完全相同。陵园内城西北部为献殿建筑区，陵东北部洼地是用以祭记的 养鱼池，陵园外城西北角是石料加工场.陵西外城之外是一个大坟场。据史书记载，秦朝 全国总人口约 2000 万，壮丁不过 700 万，而筑陵时，壮丁最多达 70 万，可见工程之浩 大。
案始皇的陵寝如同一座庞大的地下宫殿，真可谓是一座地下“福地天堂”。墓室屋顶有天 文星宿图，t 是由各种均馅生辉的珠宝构成的，下边有五岳、九州以及由机械驱动水银构 成的江河湖海。另外，还没有让百官朝拜案始皇的大厅。为防止盗威，每座墓门上都安有 自动发射的弓箭。整个陵墓可以说是一个金碧辉煌，固若金汤的地下王官。案始皇把生前 所享受的一切也搬到了地下.供他在另一个世界继续享用。他连那些为他伴驾 b 不曾生育 的宫女，以及辛勤修建地下陵寝的工匠们都不放过.下令在他人殆时，将这些人统统活 埋，为的是不让宫女外嫁他人，不让陵寝内的秘密泄露。 现在，我们面对的是秦俑馆一号坑 秦俑馆一号坑，坑里就是号称“世界第八大奇迹”的秦兵马俑。面对 秦俑馆一号坑 威武整肃的庞大军阵，你们的脑子里一定会闪现如下问题：这些秦佣是怎么发现的?为什 么他们的相貌各异?为什么要制作这些俑?
1、
2、3 号坑里共有多少俑等等。好，现在我 就一一回答大家的这些问题。 这些俑是 1974 年 3 月西杨村农民们在打井的过程中发现的。据村里的老人讲.早在明朝， 就有人在这里发现了秦俑。有一天，住在村里的难民在村外空地上订了一口井，井水清 澈，甚是喜人，可是第二天他们却发现井底的水不见了。他们中胆大的腰系绳子，下去查 看。不一会儿.井里传来惊叫声，上面的人暖紧把井里的人拉上来。这人说，他看见一个 站立着的、身穿盔甲的怪物.伸手要抓他。听者都非常害怕，想赶快用土回填那口井。但 他们最终决定报告文物部门。 经过考古专家们的勘探、鉴定.秦捅馆内的 t、
2、3 号坑被确认为案始皇棱的陪葬坑。从 1974 年到 1979 年，经过 5 年的艰苦努力，在 1 号坑遗址上矗立
立起一座气势宏伟、结构科 学的建筑物。这就是 1979 年 10 月对国内外游客开放的素兵马俑 1 号坑。3 号坑在 1989 年 9 月 27 日——世界旅游日对外开放。现在，在 2 号坑的遗址上，一座大理石建筑又落成 了，它于 1994 年 11 月开始接待游客。从此，3 个俑坑全都被保护在建筑物里，不再经受 风吹日晒雨淋。在供游人观看、怀古的同时，考古工作者们还在这里继续发掘整理兵马 俑。 经测量，1 号坑 号坑东西长 330 米，南北宽 62 米，面积 4260 平方米。侗坑的最东端是 3 面向 东的武士，每排 7 个，共 210 个捅。他们是部队的前锋。前锋部队的后面为部队的主体， 他们被诽成 38 路纵队，站在 11 个坑道里。每个坑道都是青砖铺地，坑道内例的两边，每 隔 2 米就有 1 根立柱。这些立柱支撑着木质屋顶，屋顶上是织成“人”字形的纹席.席上 是土。整个坑道距地表 5 米深。另外，在坑道的南、北、西三面备有一列面向外的武 士.他们分别是部队的右翼、左翼和后卫。现在，1 号坑已出土 1000 多件陶桶。根据推 剿.全部发掘完后.仅 1 号坑就将出土 6000 多个兵马桶。 这里是 1994 年 11 月开放的 2 号坑 号坑。它是由车兵、骑兵和步兵构成的曲尺形方阵。估计可 出土兵侗 1000 多件，车马和鞍马 500 多匹。2 号坑占地 6000 平方米。它东面突出部分为 一个小方阵，6334 个弯兵桶组成。2 号坑南部为 64 乘战车组成纳方阵，每排有 8 辆战车， 共 8 诽;中部为 19 辆战车和随车徒手兵涌;北部是战车和骑兵。北部是由战车 6 乘、鞍马 和骑兵各 124 件组成的骑兵阵。 现在，我们来到了 3 号坑 号坑，它位于 2 号坑西边 25 米处。这个坑是 1976 年发现的。它里凹 字形，占地 520 平方米。在 3 号坑里，考古专家们只发现 1 辆战车和 64 件武士捅。它们两
两相对站立，手捏仪卫兵器曼(sh6)。大多数考古专家认为，从这个坑里武士的排列方式和 手中所握的兵器，以及该坑与秦陵的位置来判断，3 号坑是整个军阵的指挥部。据估计， 等
1、
2、3 导坑全部开损后，将出土 8000 多件陶佰。这些佰相貌各异：有的沉稳刚毅，有 的英勇果敢，有的慈善含笑。可谓杨杨如生，神情各异。因为，它们全是根据秦始皇彻林 军中的将士们制作的，因此，在 8000“地下御林军”中，弥绝对找不到两个相貌、形体相 同的捅。他们一个个气废不凡，最重的有 300 多公斤，员轻的也有 100 多公斤，身高从 1.7 米到 1.9 米不等。如果大家仔细观瞧，不难分辨出兵桶中履些是陕酉人，娜些是四 川人，哪些是甘肃东部人。这从他们的胡须梳理方式和长相即可看出。我们很多人在电影 中都见过日本人的“仁丹
须”.其实，案便中就有蓄仁丹胡酌，可见，这并不是日本人的 发明，早在 2000 多年前，中国就有人留这种胡须了。 那些穿窄袖战袍外套，披挂齐腰短甲，脚登紧带兽皮鞋，头戴防风妇的，显然是机警的骑 兵。那个左脚着地，s 膝弓起，右腿脆地，有脚底向后翘起的为跪射佰。 他双目乎视前方，神情专注。这个涌鞋底的针角，两头细致续密.中间疏稀.完全符合历 支真实。在五六十年代的陕西农村，很多农民仍喜欢穿这种挂、只是鞋尖不向上朗翘而 已。几乎每个捅的衣襟上都刻有工匠的姓名，这符合“物勒工名，以考其诚”的制度。我 们今天实行的产品质量监督管理制度，秦人 2000 年前就已采用了。 涌坑中约马屑典型的河西走廊马。它身高 l 5 米，长 2 米，分为头、颈、躯干和腿四部 分。腿为实心，躯干中空，分段烧制，再组合在一起。马的两耳宜立，体型健壮优美。由 此可看出，秦人不愧为养马世族。大家也许要问秦始皇为什么要为他制作数量如此之多的 兵马桶呢?它们是怎样烧制成的呢?原来，秦始皇曾想用 4000 童男童女为其殉葬。他降旨令 李斯承办此事。李斯心中惧怕.未敢马上执行此令。因为，6 造秦腔.建筑长城已惹得民 怨沸腾，再让如此众多的童男室女殉葬，岂不是火上浇油吗?他将来恐怕也死无葬身之地。 于是，李斯向美始皇建议;制作与其人真马一样大小的兵马桶，守护其亡灵，以壮声威。 闻听此官，秦始皇大喜，他重新降旨，让李斯征集全国的能工巧匠.以他的 8060 御林军为 原型.q 作陶佰。这些桶必须手握实战兵器按实战队形排列，秦始皇再三嘱咐李斯，此事 万不能叫御林军知道。因为秦朝民间流传一个说法，如果一个人被别人复制成柄.其魂也 就被勾走了.这可是大忌。案始皇当然不愿惹怒他喜爱的曰林军了。工匠们纷纷去找询林 军中自己的亲戚、朋友、老乡、熟人，仔细观察其容貌特征，并默记于心。回去后，工匠 们用模压、塑捏、刻画、贴条等手法制成陶佰，然后放在窑里烧。可是，放进去的陶佰全 都被烧炸了，工匠们百思不解其中原因。后来，一个工匠为发泄对监工的仇恨，把制好的 监工陶涌的头去掉，将其四肢“削”去，用手“掏净”其内脏，放到窑里分段烧。这一次 竟没炸窑。他把头和四肢装在佰身上，一个活生生的监工出现了。，由此，工匠们开始了 大规模的制捅工程。8000 御林军捅就这样被造了出来。 当然，案兵马桶是借庞大的军队，来显示秦始皇灭六国、建立统一帝目的雄心壮志酌。这 些兵涌手执短兵器、长兵器和远射兵器，如剑、铱、吴钩、矛 t 戈、曼、裁、铰、弓、弯
第四篇：为兵马俑导游词
导游词是导游人员引导游客观光游览时的讲解词，是导游员同游客交流思想，向游客传播文化知识的工具，也是应用写作研究的文体之一。小编精心为你整理了为兵马俑导游词，希望对你有所借鉴作用哟。
篇一：兵马俑导游词
亲爱的游客们，你们好!我先自我介绍一下，我叫桂佳磊，你们可以叫我“桂导”或“小桂”。你们现在乘坐的是去西安秦兵马俑的列车，出发!
游客们，咱们现在已经到了西安，这是一个有着悠久历史的文明古城。咱们已经来到的闻名于世的秦兵马俑景点。秦兵马俑已发掘了三个俑坑，总面积近2000平方米，差不多有五十个篮球场那么大。1978年，法国前总统希拉克观光完秦兵马俑赞叹不绝，他说：“现世界上有了七大奇迹，秦俑的发现，可以说是八大奇迹了。不看金字塔，不算到埃及;不看兵马俑，不算到中国。”我想如此高的评价足以说明秦兵马俑的突出地位了。就在1979年10月，在此建立了遗址性博物馆。1987年12月，联合国教科文组织将秦兵马俑列入《世界遗产名录》。下面请大家自由参观，去感受这著名的秦兵马俑。两个小时后咱们在一号俑坑集合。
时间过得真快，又到了和大家说再见的时候了。我送大家三个字：长、尝、常。第一个“长”祝各位老人长命百岁;第二个“尝”祝大家尝尽天下美食;第三个“常”祝大家笑口常开。上车啦，回家喽!
篇二：兵马俑导游词
大家好!我是你们的导游——许导，今天我带大家来参观秦兵马俑。秦兵马俑是秦始皇的殉葬品。为什么说是殉葬品呢?因为在古代奴隶是奴隶主生前的附属品，奴隶主死后奴隶要为奴隶主陪葬，这就是殉葬品。
秦兵马俑不仅吸引了咱们中国人民，也吸引了更多的外国朋友。这不，前法国总理希拉克参观后说：“世界上有了七大奇迹，秦俑的发现，可以说是八大奇迹了。不看金字塔，不算到埃及，不看秦俑，不算到中国。”接下来，让咱们来看看秦俑的类型吧!
将军俑，在坑中数量极少，出土的还不足十件。其中可分为两类，战袍将军俑和铠甲将军俑，在军营里做指挥，发号施令。
车士，即战车上除驭手，驾车者这类的士兵。一般车上有两名军士，分别是车左俑和车右俑。秦兵马俑还有许多类型，比如武士俑、驭手俑……等等，由于时间关系，我也不一一给大家讲述了。现在是大家自由游览时间，游玩时要注意安全，祝大家玩得开心!
篇三：兵马俑导游词
大家好!我是你们的导游，我叫李炳辰，大家可叫我李导游。咱们将要游览秦兵马俑。秦兵马俑是秦始皇的陪葬品，已经列入《世界遗产录》，请大家自觉保持它的清洁。
这里就是秦兵马俑了。秦兵马俑是秦始皇的陪葬坑。在今西安市临潼区东约5千米去，大家应该知道陵都都看风水吧?正因为它南依骊山，北临渭水，所以它风景特别的秀丽。看!秦兵马俑类型众多，多么像一座丰富的地下文物宝库呀!你们相信吗?秦兵马俑的武器虽然在土里已有两千多年，但依然刃锋锐利，闪闪发光。可说是历史上的奇迹。游客常说：“不看金字塔，不算到埃及;不看兵马俑，不算到中国。”不知你们是否有同感?
大家请看兵马俑!那个是将军俑，将军俑很强壮，头戴鹖冠，身穿铠甲，手握利剑，若有所思，好像在设计战斗方案。这个是武士俑，他们身着铠甲，手拿武器，好像随时准备战斗。这个是骑兵俑，身穿短甲，拿着弓箭，好像正在准备上马冲杀。
旁边是陶马，陶马全身丰满的肌肉，那兴奋地样子，好像要散开四腿，踏上征程。世界上有了七大奇迹，秦兵马俑的发现，可算是八大奇迹!
篇四：兵马俑导游词
游客们大家好，我是这次带你们去参观气势雄伟的秦兵马俑的导游，我姓丁，大家可以叫我丁导游。秦兵马俑是在西安的临潼出土 ，它举世无双，规模宏大，差不多有五十个篮球场那么大。兵马俑不仅规模宏大，而且类型众多，个性鲜明。
将军桶身材魁梧，头戴鶡冠，身披铠甲，手握宝剑，昂首挺胸，那神态自若的样子，一看就知道是久经沙场，重任在肩。骑兵俑上身着短甲，下身着紧口裤，足登长靴，右手执缰绳，左手持弓箭，好像随时要上马冲杀。
每个兵马俑都是极为精美的艺术品，它神态各异，有的紧握双拳，好像在听号角，待命出征;有的凝视远方，好象在思念亲人……走近它们身旁，几乎能感到呼吸声。我的讲解完了，请大家去慢慢“品味”吧!
篇五：兵马俑导游词
同学们好：
欢迎你们大家来“兵马俑”博物馆参观。我是你们的导游，请同学们跟我一起走。咱们现在要去参观一号俑坑。这是最大的一个坑。咱们看坑里的兵马俑，一行行，一列列，十分整齐，排成了一个巨大的长方形军阵，这就是当年秦始皇统帅的大军。这座皇陵占地约有二十五万平方米。在这皇陵周围有守卫，差不多守卫了二千多年。秦始皇兵马俑有三大特点：一是多，现已挖掘出的兵马俑，分三大俑坑，约有八千多个武士俑，六百多个战马俑。
二是精，大到布局排阵，小到肌肤纹理无不蕴含巧思，一丝不苟。三是美，秦兵马俑有令人震撼的壮丽之美，气势雄伟，威武雄奇，展示了中华人民的强大力量和英雄气概。今天的游览就要结束了，请各位朋友把参观秦兵马俑的这段印象永远记在心里，好吗?
第五篇：兵马俑导游词全
尊敬的女士们、先生们：
今天，我们将参观秦兵马俑博物馆。秦兵马俑博物馆位于西安市东35公里处，自开馆至今，已有为数众多国家的党政首脑和外国朋友都参观过这个博物馆，法国总统希拉克曾留言说过：“世界上原有七大奇迹，秦兵马俑的发现，可以说是第八大奇迹了。不看金字塔.不算真正到过埃及‘。‘不看秦俑，不算真正到过中国。’”美国前副总统蒙代尔也说：“这是真正的奇迹。全世界人民都应该到这里看一看。”从这些高度凝练的话语中，我们不难看出秦俑的历史价值。
在参观秦俑博物馆之前，我想应该先向大家介绍一下秦始皇这个人。
秦始皇是中国封建社会的创立者，也是一个文武双全的皇帝。他姓嬴名政，出生于赵国的邯郸，13岁继承王位，22岁开始亲政，经过十年的浴血奋战，统一了全国，建立了中国历史上第一个统一的，多民族的，中央集权制的封建王朝——秦朝。为了巩固政权，加强思想政治领域内的统治，他还设立了郡县制;而且先后在全国范围内统一了文字、货币、度量衡、车轨和法律制度。他认为自己功过三皇，德高五帝，又因为是第一个皇帝，所以便自称为始皇帝。他曾经五次出游天下，于公元前210年的7月，在出巡途中，暴病死于河北的沙丘，终年50岁。死后葬于骊山脚下的陵墓之中。
秦始皇帝陵南靠骊山,背面与渭水相邻。骊山风景如画，绿树成荫。据史书记载：“骊山山南多美玉，山北多黄金。”现在我们看到的这个巨大的封土堆，就是秦陵了。在中国古代，帝王陵墓在建设上都遵循“虽死犹生”的思想，因此，秦始皇陵是依照当时秦咸阳宫的规模修建的。经过几千年的风风雨雨，当时的地面建筑现在已荡然无存了，我们已经无法领略秦陵的全貌。据《史记》记载，从这样的一段描述中我们可以得知：秦陵地宫的顶端是用28颗夜明珠组成的天冥星;陵内还有设置着百官座次的殿堂;并且藏满了各种奇器异宝;还用水银做了江河湖海以象征天地;用人鱼膏点长明灯为了防盗墓;还安装了能自动发射的暗箭。《史记》中对秦陵的内部只做了一个大致的描述。那么陵内到底有多少的奇珍异宝呢?由于科学技术的问题，现在还无法打开帝陵，我们已经发现了它的一个陪葬坑，就是秦始皇秦兵马。我们只能等待陵墓发掘的那一天，相信到时候一定会引起全世界考古界的轰动的
现在，我们面对的是秦俑馆一号坑，坑里就是号称“世界第八大奇迹”的秦兵马俑。面对威武整肃的庞大军阵，你们的脑子里一定会闪现许多问题。现在我就一一回答大家的这些问题。
这些俑是西杨村农民们在抗旱打井的过程中发现的。他们决定报告文物部门。
经过考古专家们的鉴定。秦俑馆内的
1、
2、3号坑被确认为秦始皇陵的陪葬坑。
经测量，1号坑东西长330米，南北宽62米，面积14260平方米，相当于两个足球场的面积，为三个佣坑中面积最大的一个。它为坑道式土木建筑结构，在东西两端各有5个斜坡门道，还有10个2.5米宽的夯土隔墙，隔墙上架有粗大的横梁，底部都是以青砖墁铺。一号坑是由步兵和车兵组成的军阵。一号坑是以长方阵的排列方式，由前锋、主体、侧翼、后卫四部分组成。我们现在所看到面东而立的就是前锋部队。南、北、西端各有一排面外而立的武士俑是侧翼和后卫，他们是为了防止敌人旁敲侧击和从背后偷袭。中间有38路面东而立的纵队，是由步兵和骑兵组成，构成了整个军阵的主体。从这里也体现了古代兵书中所讲的“前后整齐，四方为绳”的军阵。《孙子兵法》中曾经讲到，古代兵阵布阵的一个重要原则就是“前锋必锐，整体必宏。”他把一个军阵比喻成一把剑，如果一个军阵没有精锐的前锋，那么这个军阵就像是一把无锋的剑，便失去了杀伤力，可见前锋部队的重要了。
我们现在所看到的就是一号坑的前锋部队。它一共是3排，每排70件，共210件。这些兵俑手中都持有强弓劲弩，都是以骁勇善战而著称于世的。他们在作战时都不戴头盔。头盔本来是作战时的一种最基本的防护装备，但是秦国军队规定一律不准戴头盔。所以历史上称他们为“科头”。由于“科头”不戴头盔便敢杀入敌阵，史籍上也称他们为“科头锐士”。从这些“科头锐士”的身上我们可以看到当时秦军的勇猛和善战了。
有人说东方艺术讲究群体美，而西方艺术追求个体美，秦俑的美在于它的气势和它的群体美。其实秦俑并不知是讲究博大，它对个体形象的塑造也是细致入微的。秦俑不仅面部表情各异，有千人千面之称，而且小到发丝、手指纹都刻划的非常精细。在看一下他们手的姿势，手的姿势个不一样是因为他们手持兵器的不同，但我们现在能看到的兵器很少了，据野史记载，楚霸王项羽将所有的兵器盗走了，这也就是我们今天看到兵器非常少的原因了。
在一号坑以北20米处，是秦始皇兵马俑的二号坑。它的平面呈曲尺形，面积为6000多平方米，是由步兵、骑兵、车兵和混和兵种组成的军阵。他一共由四个小的单元构成。这四个单元可以有机的构成一个大的军阵，也可以分开成四个独立的小军阵，这正是古书中所讲的“大阵套小阵、大营包小营”，阵中有阵、营中有营的布阵方法。它能攻能守，反应迅速，自我保护力强，可以说是当时世界上反应最快速的一支部队。
由于我们目前对兵马俑的颜色无法保护，二号坑迄今都没有大量的开发，但是在二号展厅中出土了大量的有代表性的陶俑，其中有将军俑、跪射俑、立射俑、骑兵俑、鞍马俑等。我们现在所看到的就是一个从二号坑中出土的现在我们欣赏一下跪射俑，他上体笔直挺立，下部是右膝、右足尖及左足抵地，三个支点呈等腰三角形支撑着上体，重心在下，增强了稳定感。跪射佣由于目标小，不易被发现，所以是埋伏射击的最佳状态。甲片随着身体的扭转而流动，衣纹伴着体态的变化而曲转。这些跪射俑的面容和神态各不相同，具有明显的个性特征，跪射俑是兵马俑中的精华，中国古代雕塑艺术的杰作。看完了这么多的陶俑、陶马，拿他到底是怎么制作而成德，下面这幅图将会解答大家的疑惑。
看完了
一、二号坑，大家也许会问：如此气势宏伟的军队，它的指挥部，也就是古代说的军幕是怎样的呢?那么三号坑的参观会给大家一个满意的答复。
三号坑位于二号坑以西、一号坑以北。平面呈凹字形，是三个俑坑中面积最小的一个。一共出土了四马、一车和68个陶俑。这些陶俑的排列形式与
一、二号坑完全不同。
一、二号坑是按实战军阵排列的;而三号坑则是面向内相向夹道式排列。他们手中所持的兵器也有不同。
一、二号坑中陶俑所持的兵器有长射兵器和短射兵器;但在三号坑中只发现了一种无刃兵器——铜殳。铜殳是一种用于仪仗的兵器，证明这里可能是一个地下军队的指挥部。三号坑如果从它的建筑布局来看，主要由车马房、南北厢房组成。在北厢房还没有修复好，在里面发现了朽骨一堆，残鹿角一件，证明它是一个活动前占卜或祷告的场所。南厢房位于俑坑的南部，它从东向西依次排列着廊坊、俑道、正厅和偏房。它们都有武士俑分立于两边，其中以正厅的警卫最多。这里可能是召开军事会议的场所。这一点也就完全证实了三号坑是一个地下军队的指挥部——军幕。秦俑坑当中既有“决胜于千里之外”的强大军阵，又有“运筹于帷幄之中”的将领，可见当时思虑严密，布局严谨了。
好了，秦俑坑我们就先参观到这里，下面我将要带领大家参观的是铜车马展厅。
如果说秦俑坑是大中显武的话，那么铜车马展厅就是小里透文了。前者把我们带入干戈相交的战场，而后者则使我们感受到了舒适的宫廷生活。它们虽然都是秦陵的陪葬物，但是却从不同的侧面反映出那个时代的历史文化。秦始皇陵西侧20米处，发掘出土了两乘大型彩绘的铜车马。按照当时的发现的顺序，它们分别被编为一号和二号铜车马。当年出土的时候全部被打成了碎片，经过专家们近8年的修复，又使它重新焕发出了当年的瑰丽姿彩。据考证，这两乘车的体积均为真车真马的1/2，它们处处都是依照真人、真车、真马制造的。当年，这两乘铜车马的出土曾经使多少人赞叹不已!因此，它们也被人们称为“青铜器之冠”。这两乘车都是驷马单辕，呈前后纵向排列。前面的一号车为古代的“高车”，也叫“立车”，因为乘坐这辆车要保持站立的姿势而得名。这辆车上配备有大量的武器，鲜明的表明了一号车是用来保护后面二号车安全的。
我们现在看到的就是二号铜车马了。这辆车叫“安车”，它比我们的旅游空调大巴还舒服，因为它的车窗设计的非常科学，不但可以调节车内的温度，而且可以观赏车外的风景。我们可以看到前面拉车的四匹马，中间的两匹马叫“服马”，两边的两匹马是拉车的叫“骖马”。由于是皇家车队，因此要求它们行走起来必须平稳，于是在马身之间以“胁驱”相隔。这样，可使马匹保持一定的间距，如果它们离的太近，胁驱就会扎疼它们。马的制作技术达到了非常高超的境界。马的脖子上有一个项圈，这个项圈是由42节金与42节银焊接而成。金和银的熔点不同，它的焊接点用24倍的放大镜才可以清楚的看到。2000多年前的时候，手工制作能把着两种金属焊接在一起，表明秦代的工艺也是相当高的，我们不得不为之赞叹。我们再来看一下二号车上的华盖。华盖是一次烧铸而成，最厚处为也不过4毫米，最薄处为只有2毫米，是世界冶金史上的一次奇迹，包括现在的美国、日本都是无法做出来的。这个华盖就像一个龟壳一样，俗话说的好：“千年的王八，万年的龟。”这表明秦始皇希望自己永远长寿。但是秦始皇当时乘坐的并不是我们现在看到的这种安车。据史书记载，秦始皇的车队共有“九九八十一”辆车，而秦始皇乘坐的，则是由六匹马驾辕的一辆的金根车。它可能也被作为秦始皇陵的一个陪葬品埋在了秦陵的附近，说不定到不久的将来便会发现。希望到时候各位能够再来一睹皇家车队的迷人风采。
今天的讲解就到此了，谢谢大家!