【作者】 郎剑锋；

【导师】 方辉；

【作者基本信息】 山东大学 ， 考古学及博物馆学， 2012， 博士

【摘要】 “吴越地区”包括今安徽南部、江苏南部、江西东北部、浙江全境、上海和福建北部。根据传世文献的记载,这一区域为商周时期吴、越两国故地,对这一地区出土商周青铜器的研究是对我国古代青铜文化进行区域研究的重要内容,也是探索商周时期中原王朝与边远地区关系的重要途径,具有十分重要的学术价值。绪论部分首先对本文研究的时空范围及相关概念进行了说明；对吴越地区出土商周青铜器的研究历史进行了回顾,指出研究中存在的若干问题,明确个人的研究思路。第一章对既往的年代学研究进行了细致梳理,揭示出存在分歧的原因；在明确个人在年代判断过程中遵循的原则之后,对吴越地区出土商周青铜器的年代进行了逐一分析、判断。研究的结果表明,吴越地区独立铸造青铜容器和乐器的时代不晚于商代晚期,并一直持续到东周晚期阶段。第二章对吴越地区出土的商周青铜器进行了全面、系统的分类研究,对不同类型的青铜器进行了形制、纹饰方面的讨论,对各种型式青铜器的文化来源进行了甄别。在全面、系统的分析讨论之后,本文对吴越地区出土商周青铜器的特点进行了概括,即模仿性、创造性和“好古”倾向。“模仿性”主要表现为吴越地区出土商周青铜器的绝大多数器类都可以在中原和其他地区找到其原型,且其形制、纹饰与后者具有明显的相似性。这一特点贯穿于吴越地区商周时期青铜铸造业的整个过程,只是在不同的时期,模仿的对象略有改变。春秋晚期之前,吴越地区主要模仿中原地区青铜器,春秋晚期以降,楚系青铜器也成为吴越地区的模仿对象,且大有后来居上之势。“创造性”首先体现在吴越地区对其他地区青铜器进行了不同程度的改造。此外,吴越地区也发明了一些具有浓厚地方特色的青铜器,而部分青铜器的功能也可能发生了变化。就整体面貌而言,吴越地区青铜器的“模仿性”十分突出,“创造性”处于明显的次要地位。吴越地区青铜器的“好古”倾向主要表现在对早期青铜器的收藏和模仿。这种倾向一致持续到春秋中期,其文化意义可能在于展示青铜器的拥有者悠久、辉煌的家族史,从而提高其统治的合法性。春秋晚期之后,吴越地区青铜器的“好古”倾向急剧消退。第三章对吴越地区青铜器出土环境进行“情境”分析。通过对随葬青铜器墓葬的考察发现,吴越地区随葬青铜器的墓葬形制随着时代的变迁不断发生变化,显示了外来墓葬传统影响的不断增强。这种趋势在吴越地区出土的青铜器上也有同样的反映。不同规模的墓葬在墓葬形制的演变速率方面差别明显,表明不同阶层的人群对外来文化的接触机会不等、理解和接受的程度不一。比较而言,人们对外来青铜器的接受早于对外来墓葬形制的接受,显示了墓葬的保守性。墓葬中不同质地、不同种类的器物在墓葬中占据不同的空间位置,表明吴越地区居民当时对不同质地、相同质地不同种类的器物在功能上有成熟、明确的分类。随葬器物的空间位置也随着墓葬形制的演变而发生相应的变化。吴越地区墓葬在随葬品(包括青铜器)的埋藏方式上存在一些地方特点,若干墓葬资料明确表明,在器物下葬、墓葬埋藏的过程中,可能伴随某种(些)形式的丧葬仪式。与吴越地区青铜器在春秋晚期所形成的相对统一的面貌不同,吴越地区春秋晚期随葬青铜器的墓葬在形制上却更加多样,随葬青铜容器、乐器也缺乏明确的制度化规范。这种文化现象可能表明,直到东周晚期阶段吴越地区仍未形成一套统一、严格的丧葬制度,缺乏相对统一的文化认同。对“窖藏”的分析表明,只有少数的单位可视为“窖藏”,其他遗存的性质多与山川等环境出土青铜器相近,可能与祭祀活动有关。综合不同环境出土青铜器的情况可以发现,商周时期吴越地区的礼仪生活中存在一定程度“重乐器,轻容器”的现象,这一传统的形成可能肇始于以青铜大铙为代表的晚商时期,并一直延续到东周晚期阶段。第四章通过对一种颇具地方特色的青铜杖饰的分析,揭示出太阳崇拜是吴越地区春秋晚期宗教信仰的重要内容之一,这种信仰在当地具有悠久的历史,表明宗教信仰具有很强的延续性。分处长江首尾的吴越和巴蜀地区在宗教信仰的内容与表达方式存在很强的一致性,表明两地在宗教信仰方面可能存在联系与交流,并且这种联系和交流可能有着较为深远的历史背景。吴越地区的太阳崇拜同当地青铜农具的发达和金属货币的欠发达之间可能存在一定的联系。第五章通过全面收集吴越地区之外出土的吴越或具有吴越风格的青铜器发现,吴越青铜器对外影响的范围相当广泛,但就影响的深度而言则较为有限。这种状况的形成,一方面可能跟吴越青铜器以模仿其他地区的青铜器为主有关,另一方面也可能跟吴越先民的地域认同有关,当地居民对吴越地区以外的地区持一种否定、排斥的消极态度,可能正是这种观念阻碍了吴、越两国从区域走向广域,自然也就限制了吴越地区青铜文明的持续发展和对外影响的深广。结语部分对前面各章内容进行了概括,指出本文研究中存在的问题和今后继续努力的方向。更多还原

【Abstract】 The targeted geological area of this research includes present-day Southern Anhui, Southern Jiangsu, Northeastern Jiangxi, the whole Zhejiang, Shanghai and Northern Fujian. According to transmitted documents, this area had been referred as the "Wu and Yue region" since the time when the states of Wu and Yue were established in this area during Shang and Zhou periods. Therefore, the bronzes unearthed in this area are very important for regional study on ancient Chinese bronze culture as well as for the exploration of the relationship between the Central Plain and remote regions.The "Introduction" part of this dissertation provides an explanation of the spatial and temporal scales and concepts related to this research, a brief review on how on the Shang and Zhou bronzes unearthed in the Wu and Yue Region are studied, and the research methods that I adopt for my own research.The focus of chapter one is the date of the Shang and Zhou bronzes unearthed in the Wu and Yue region, which is still a disputable issue nowadays. On the shoulder of previous sholarship, I analyze all those Shang and Zhou bronzes found in the Wu and Yue region appearing in publications to date and find that an independent bronze industrial tradition in Wu and Yue Region emerged no later than late Shang and lasted to late Eastern Zhou period.In chapter two, I offer a comprehensive, systematic research on the classification of the Shang and Zhou bronzes unearthed in the Wu and Yue region. Based on the analysis of those bronze shapes and the designs on them, I find three features that are important to the study of the Shang and Zhou bronzes discovered in the Wu and Yue region. The three features in regard to the production of the Wu and Yue bronzes dated to the Shang and Zhou periods include (1) its intentional imitation of bronze production found in other areas,(2) the originality showed in its own production coexisting with imitating others and (3) the antiquarianism trend seen from time to time in its long casting history."Imitation" is the main feature of the Wu and Yue bronze casting. It occurred along the entire history of bronze production. The bronzes of the Wu and Yue region imitated bronzes from different parts of China in different eras. Generally speaking, before late Spring and Autumn, they mainly imitated the Central Plain production. Since late Spring and Autumn, they began to embrace the Chu bronzes styles. The feature of originality was presented in the Wu and Yue people’s modifying their production adopted from other regions. Company ing with the process of imitation was the creation of their own wares and local styles.The antiquarianism trend deals with the collection and imitation of early bronzes in the Wu and Yue region. The feature suggests that collecting early bronzes might have been a practice aiming to display a projected honorable long history of the owner’s lineage and to legitimize their high social status. Nevertheless, this phenomenon faded away in late Spring and Autumn period.Chapter three focuses on archaeological contexts of the Shang and Zhou bronzes unearthed in Wu and Yue region. These contexts include tombs, hoards as well as sites as mountains and rivers. The structures of the burial yielding bronzes often changed over time, which showed a continuous increase of influence from areas other than the Wu and Yue region. Interestingly, such changes brought to tombs of different size in the Wu and Yue region were not at the same pace. This may reflect the difference among different groups of their contacting, understanding, and adopting culture from other areas. In comparison with their adopting bronzes other cultures, the Wu and Yue people seem relatively reluctant to bring change to their own burial structures, as archaeological evidences presents. Such reluctance suggested how deep those burial practices had influenced people living in the Wu and Yue region during the Shang and Zhou periods. That different objects were placed in different places in the burials suggests that these objects might have been clearly classified by the Wu and Yue over time. Some burial materials also indicate that certain burial rituals may have occurred in the burial process. In contrast with the identical style of the Wu and Yue bronzes during late Spring and Autumn period, the structures of the burials and the assemblages of buried bronzes were rather diverse. This might suggests that neither a standardized funeral system nor a certain cultural identity presented in burial practice had been formed in the Wu and Yue region during late Eastern Zhou. Only a few of the published "hoards" of bronze can be considered as hoards if a hoard is defined as sets or groups of vessels and objects were stored intentionally. The rest, even though possibly related to ritual activities, shows high similarity with the bronzes found in such contexts as mountains and rivers. This study also shows that the bronze musical instruments played a more important role than bronze vessels in the Wu and Yue ritual. This tradition finds its reference to the burial of bronze nao bells, a practice lasting from late Shang till late Eastern Zhou.Chapter four deals with the possible religious meaning of the some of the motifs appearing on several bronze staffs found exclusively in the Wu and Yue region, which I suspect is related to the sun worship. This chapter also discusses certain observable continuity in the transmission of religious belief in the Wu and Yue region and the long-distance communication between the Lower and the Upper reaches of the Yangtze River. The sun worship in the Wu and Yue region might have been associated with the popularity of bronze farm tools and the absence of metallic currency in this area.Chapter five studies Wu and Yue bronzes and bronzes of Wu and Yue style discovered in places outside the Wu and Yue region. It is noticeable that although the Wu and Yue bronzes of the Wu and Yue style bronzes can be found in various placed other than the Wu and Yue region, they had not exerted any significant influence on the outside areas. This is imaginably related to the Wu and Yue production that mainly imitated that of other areas and the regional identity of Wu and Yue, which limited the development of Wu and Yue and the external influence of the Wu and Yue bronzes.The conclusion part summarizes the previous chapters, lists questions remaining to be solved, and suggests perspectives for future study.更多还原