【作者】 郭明建；

【导师】 栾丰实； 文德安；

【作者基本信息】 山东大学 ， 考古学及博物馆学， 2012， 博士

【摘要】 对于良渚文化的社会情况,尤其是其社会性质的研究是长期以来良渚文化研究中的一个主要课题。但由于以往的著作多是用某些局部资料来探讨良渚文化是否进入了“文明”或“国家”阶段,所以笔者认为这种研究思路或多或少都有“本末倒置”之嫌。而鉴于良渚文化的聚落形态反映的社会政治组织体系和良渚文化玉器手工业反映的玉器经济组织体系是良渚文化社会中两种最重要的社会组织体系,且两者关系紧密相连,所以本文的研究将从这两个方面着手,通过聚落形态和玉器生产者两个视角来审视良渚文化总体的社会情况及社会性质。本文的正文部分共分四章。第一章：绪论。本章第一节介绍了本文选题的缘起以及本文研究的总体思路。第二节分四个阶段回顾了良渚文化76年的发现和研究历史,介绍了各阶段良渚文化研究的主要课题和方法,以及良渚文化聚落和玉器研究的现状。第三节介绍了本文研究的具体思路、理论依据和具体方法,总体来说本文遵循从微观到宏观、从材料到理论的顺序,具体研究中则参考西方考古学的某些理论模式并结合良渚文化考古资料的现状,对良渚文化的聚落形态和玉器生产分别采用不同的方法进行分析。第二章：良渚文化的聚落形态研究。本章第一节针对以往良渚文化基础研究的不足,讨论了其中与本文紧密相关的两个问题,即良渚文化的分期和分区问题。在此基础上,本章第二、三节分别从微观和宏观两个方面研究了良渚文化的聚落形态及其体现的社会情况。在微观聚落形态的研究中,本文首先对良渚文化为数不多的几个较完整聚落做了分析,指出良渚文化的完整聚落存在生活区和墓葬区“此废彼兴”等特点；其次本文按照良渚文化墓地的等级,结合相关实例分别研究了良渚文化五个等级墓地的内部结构及其反映的社会组织情况。总体来说,笔者认为良渚文化的微观聚落反映了一种分化严重的、“首领主导式”的、以家族为基本单位的社会政治组织体系；具体来说良渚文化第一、二级墓地代表的是社会中的权贵家族,第三、四、五级墓地代表的是社会中的基层家族,但无论是哪个级别的墓地,一个墓群围绕其首领墓葬而设的布局都很明显。最后本节还对良渚文化墓地的历时性变化做了相关分析,笔者认为良渚文化墓地历时性变化的总体趋势是墓地级别越来越高,随葬品数量越来越丰富,其中高等级墓地的表现更为明显。在宏观聚落形态的研究中,本文主要按照良渚文化遗址的四个主要分布区,依次介绍了各地区聚落的总体分布情况、聚落的分级情况、聚落的历时变迁情况、宏观聚落形态的等级结构以及各地区宏观聚落形态的特点。通过以上分析,笔者认为,良渚文化的主要分布区内都普遍存在着三个或四个等级的宏观聚落组织体系。其中单个聚落、聚落小群代表了良渚文化社会的基层结构,其具体情况也最为清晰；但是在环太湖地区,宏观聚落形态的特点之一就是“单个聚落”的界限并不容易辨识。高等级聚落控制下的大聚落群代表了良渚文化中最高级别的政体。而小区级的聚落群区则可能代表了一种松散的血缘和地缘集团。最后笔者还对良渚文化宏观聚落的总体特点,以及其反映的良渚文化的社会规模、社会稳定性等做了分析；总体来说,笔者认为良渚文化分布区内部可能较均匀的分布着35个左右的最高政体,而且在整个良渚文化时期,其社会的稳定性较高,多数聚落都沿用了较长时间。第三章：良渚文化的玉器生产体系和组织研究。本章第一节引证了一些前人对良渚文化玉器和玉器纹饰功能的论述。笔者认为,良渚文化的玉器除了一些小型玉饰外,其主要的大型玉器都是礼仪性的宗教法器和墓主人身份、财富以及地位的象征,而良渚文化玉器手工业维系的主要动力就是良渚文化贵族宗教生活和政治控制的需要。本章第二至五节主要分析了良渚文化玉器生产体系研究中的核心问题,即良渚文化玉器的产地问题。其中第二节笔者通过考察良渚文化玉质和玉料产地研究的现状,本文认为良渚文化的玉料大体可以分为纯色料、杂色料和鸡骨白三种,而在长江下游地区,苏浙西部山区最有玉矿的成矿条件,而嘉兴地区基本上没有玉矿存在的可能。第三节笔者通过对良渚文化各地区和主要遗址玉器总数量、各种主要器型玉器的总数量以及玉器种类的统计分析,本文认为良渚文化玉器的数量以良渚遗址群和寺墩遗址最多,环太湖地区东南部则最少,玉器的种类则从环太湖西南部地区的良渚遗址群到环太湖西北部地区的寺墩遗址按逆时针方向依次减少。第四节笔者通过对良渚文化玉器加工流程和具体技术以及与制玉有关的直接遗存发现情况的分析,本文认为在良渚文化玉器的生产中,刻纹技术是其最关键、最复杂的技术；塘山、丁沙地、新地里等遗址是良渚文化中较确定的玉器加工地点。本章最主要的部分是第五节对良渚文化各地区和各遗址中五种主要玉器具体形制特点的详细分析,通过这些分析,笔者认为良渚文化各地区和各遗址间的玉器有较明显的区别,甚至同一墓地中不同墓葬的同类玉器也有较大不同。综合以上分析,在第六节中,笔者认为良渚文化的玉料产地主要在苏浙西部山区；良渚文化的玉器手工业主要可以分为良渚遗址群、草鞋山-寺墩、福泉山-张陵山和余杭东部-嘉兴西部四个工业区,并以前两者的规模和影响最大。这些工业区都有自己的玉器生产地点,而且在各个工业区内,都已经出现了专业的制玉工匠——虽然某些低等级聚落也能制作一些小型玉器,但大型玉器基本上都是由高等级聚落中的专业玉匠制作的。良渚文化高等级聚落生产的玉器除了自己使用外,各政体内部自上而下以及各高等级聚落之间还有一定的玉器流通。良渚文化的玉器生产组织主要是应良渚贵族需要而生的并被其控制的,它是一种由良渚文化社会政治组织衍生出来的经济组织。第四章：结论。本章第一节根据第二、三章的分析,通过与二里头文化对比,探讨了良渚文化的社会性质。具体来说,笔者认为与二里头文化相比,良渚文化的社会进化程度明显较低,其内部应有多个政治集团,且尚无“王朝气象”,它代表的应该是一种分化较严重的酋邦社会。本章第二节分析了良渚文化的玉器手工业与良渚文化社会的互动关系,笔者认为,良渚文化的玉器手工业主要是为良渚文化的贵族服务的。在此基础之上,一方面良渚文化各地区不同的聚落/人口密度和占有玉器资源的不同情况造就了其聚落形态和玉器手工业的不同——由于嘉兴西部等地区人口密度较大且没有玉器资源,导致了其宏观聚落形态上聚落等级差异较小、玉器资源分配相对较均匀；而良渚遗址群等地区由于靠近玉料产地,导致了其获得的玉器较多且宏观聚落等级差异看似较大。另一方面,良渚文化各地区占有玉器资源的不均匀性最终又导致了各地贵族集团社会影响力的不同和其高端产品组合策略的不同,即由于良渚遗址群和寺墩遗址等地的贵族占有较多的玉器资源,他们有能力修建良渚古城、寺墩墓地等宏大建筑；而嘉兴、苏沪地区由于玉器资源匮乏,当地贵族就用更倾向于使用刻纹陶器、骨牙器等高端产品来弥补这一缺陷。更多还原

【Abstract】 Research on social situation, especially the nature of the society in the Liangzhu Culture was always a main topic in the research of the Liangzhu Culture. But as former articles always focused on discussing if the Liangzhu Culture had stepped into the "civilzaiton" or "state" period with some limited material, I think this research way meant "putting the cart before the horse" more or less. As the social political organization system reflected by the settlement partterns and jade economic organization system reflected by the jade handicraft industry were two most important social organization systems in the society of the Liangzhu Culture, and they also had close relation, so, my research focused on these two aspects, and we scan the general situation and the nature of the society in Liangzhu Culture from these two view angles.There are four chapters in this thesis.Chapter1:Introduction. The frist part of this chapter introduced the reason why I chose this topic and the general research thought of my thesis. The seconed part of this chapter momorized the76years’ history of discovery and research of the Liangzhu Culture with4periods; and it introduced the main topics and methods in different periods, and the current situation of the research on the Liangzhu Culture’s settment and jade. The third part of this chapter introduced the reseach plan, theorial background and detailed methods of this thesis. Generally speaking, the research in my thesis obeyed the order from microcosmic to macrocosmic, from material to theory; for specific research, it consulted some theorial model from western archaeology and combined them with the current archaeologial material of the Liangzhu Culture; for the detailed methods, we used different methods for researches on settlement pattern and the jade production in the Liangzhu Culture.Chapter2:The research on the settlement pattern of the Liangzhu Culture. The first part of this chapter discussed two foudational questions which have close relation with my research and were not researched enough yet, i.e. the periods dviding and areas dviding questions in the Liangzhu Culture. On that basic, the second and third parts researched the settlement pattern of the Liangzhu Culture and the social situation it reflectd from the microcosmic and the macrocomic aspects. For the research on the microcosmic settlement pattern of the Liangzhu Culture, firstly, this chapter analysed some compared complete settlements, and I think they had some characters, for example the burial area often was built on the deserted living area. Secondly, this chapter analysed the interior struction and the social organization it reflected with deatailed examples of the5different levels cemeteries in the Liangzhu Culture. Generally speaking, I think the microcosmic settlement pattern of the Liangzhu Culture represented a seriously differentiated,"leader dominanted" social structure with the lineage as its basic unit; the first and second levels cemeteries of the Liangzhu Culture represented the noble and powerful lineages, the third, fourth and fifth level cemeteries represented the basic lineage in the Liangzhu Culture; and in every level, tombs groups in cemeteries were all designed for the leader tomb obviously. At last, this chapter also analysed the cemetery’s change in different periods of the Liangzhu Culture, I think the general trend of cemeteries’change in the Lianzhu Culture was that the level of cemeteries got higher and higher, and the number of burial goods got more and more, and it was more obvious for the higher level cemeteries. For the research on the marcocosmic settlement pattern of the Liangzhu Culture, in4main areas of the Liangzhu Culture, this chapter analysed their general distribution, the level situation, the changes in different period of all sites, and their marcrocosmic settlement structures, and their characters. Through these analyses, I think3or4levels’macrocosmic settlement structure common existed in the Liangzhu Culure’s distribution area; the single settlement and small settlement groups were basic structures, and their situation were also clear; but in the around Tai lake area, one charater of the marcrocosmic settlement pattern is that the definition of the "single settlement" was not very clear; the big settlenment group under the control of a high level settlement should represented the highest political body of the Liangzhu Culture, and the settlement group in a small area maybe represent a kind of loose blood linked or geo-linked groups in the Liangzhu Culture. At last, this chapter analysed the general character of the Liangzhu Culture’s macrocosmic settlement pattern, and the social scale, the stability of this society it reflected. I think there were about35highest political bodies in the Liangzhu Culture which were distributed evenly in this area, and the society was stable in the whole Liangzhu Culture period, most settelements were used for a long time.Chapter3:The research on the jade production system and organizaiton in the Liangzhu Culture. Firstly, this chapter cited other scholars’opinions on the function of the jade and the pictures on them; I think, besides some small decorative jade, the main big jade in the Liangzhu Culture were ceremonial religional items and the symbols for the identity, wealth and status of the death, and the main motive of the jade handicraft industry was the need of the Liangzhu Culture’s noble for religion life and political control. Secondly, this chapter mainly analysed a core questions in the research of the jade production system in Liangzhu Culture, i.e. the provenience problem of the Liangzhu Culture’s jade. Through the analysis of the property and resources of Liangzhu Culture’s jade in the second part, I think the jade of the Liangzhu Culture can be dvided into3kinds—pure color material, multi color material and jigu white material; and in the below Yangzi river area, the mountainous area in the west Jiangsu and Zhejiang have the best environment for forming jade mine and there no possibility for it in the Jiaxing area. Throug the statistics of the total sum, the numbers of the main kinds of jade and the types of jade in the different areas and sites in the Liangzhu Culture in the third part, I think the Liangzhu sites group and Sidun site had the most jade and the southeastern round Tai lake area had the fewest; and the types of jade decreases generally from the Liangzhu sites group in the southwestern round Tai lake area to the Sidun site in the northwestern round Tai lake area anticlockwisely. Through anlysing detailed technology and the producing procedure of the Liangzhu Culture’s jade and the discovery of remains directly related to the jade production in the Liangzhu Culture’s sites in the fourth part, I think the picture carving technology was the most complicated and key technology in this procedure, and Tangshan, Dingshadi, Xindili and other sites were obvious jade producing sites in the Liangzhu Culture. The most important of this chapter is the analysis on the detailed formation and quality characters of the5important kinds of jade in different areas and sites of the Liangzhu Culture in the fifth part, through these analysis, we can see that their difference were obvrious, and even in different tombs of the same cemetery, their jade which belong to the same kind also had bigger difference. According to all these analysis, in the sixth part, I think the main jade meteraial in the Liangzhu Culture came from the mountainous area in the west Jiangsu and Zhejiang provinces; the jade handicraft industry of the Liangzhu Culture can be divided into4industry areas:Liangzhu sites group, Caoxie—Sidun, Fuquans—Zhanglingshan, and eastern Yuhang—western Jiaxing, and the former2areas had bigger scale and influence; in these4area, they all had jade producing sites of their own, and the professional jade maker had appeared; although some lower level settlements can make some small jade by themselves, most big jade were made by the professional jade maker in the higher level settlements; besides being used in these settlements, jade communication also existed among the policital body form the high level settlements to the low level settlements and between some high level settelements; the jade production organization in the Liangzhu Culture was created mainly for the need of the Liangzhu Culutre’s nobel, and was controlled by them, it is a kind of economic organization born from the Liangzhu Culture’s social political organization.Chapter4:Conclusion. According to the analysis in chapter2and3, and comparing with the Erlitou Culture, the first part of this chapter discussed the nature of the Liangzhu Culture’s society; I think the evolution step of the Liangzhu Culture’s society was lower than the Erlitou Culture obviously, and there were many political bodies inside the Liangzhu Culture and there was no "dynasty atmosphere" in it; it should be a chiefdom society differentiating seriously. The second part of this Chapter analyses the interaction relationship between the Liangzhu Culture’s jade handicrafts industry and its society; I think, the jade handicraft industry serviced for the noble of the Liangzhu Culture. On this basic, in one side, the different settlement/population density and situation controlling jade resources made the difference of the settlement pattern and jade handicraft in different areas of the Liangzhu Culture:for high population density and no jade resources in Jiaxing area, it had some characters such as small difference between different settlement levels in its macrocosmic settlement pattern and compared equal jade distribution; as closed to the jade resources, the Liangzhu sites group and other areas had more jade and big difference between different settlement levels. In the othe side, the inhomogeneity of the jade in different areas leaded to the different influence power of the local noble and different combining strategy for using luxuries:as owning more jade, the noble in the Liangzhu sites group, Sidun site and other areas had the ability to set up huge buildings such as the Liangzhu city and Sidun cemetery, as lacking for jade, the noble in the Jiaxing and Suhu areas more trended to using carving picture pottery, bone or ivory items and other luxuries tofill this gap.更多还原