【作者】 杨月光；

【导师】 李伊萍；

【作者基本信息】 吉林大学 ， 考古学及博物馆学， 2012， 硕士

【摘要】 本文就良渚文化陶鬶的演变序列、渊源、流向及功能等问题进行了探讨。笔者首先对良渚文化进行了重新分期，然后以好川墓地陶鬶为参考，理清了陶鬶在良渚文化时空框架中的发展演变序列。实足鬶产生和存在于良渚文化中期阶段，袋足鬶的产生稍晚于实足鬶，发展于良渚文化中晚期阶段。对比黄河下游地区的大汶口文化陶鬶，良渚文化实足鬶的出现晚于大汶口文化同类器，前者的产生明显受到后者的影响；良渚文化袋足鬶的出现早于大汶口文化同类器，其中大汶口文化地瓜鬶与良渚文化Ba型袋足鬶关系密切。良渚文化袋足鬶对周边考古学文化有着强烈的渗透影响作用。钱山漾文化作为良渚文化的后继者，它的典型器物—长颈袋足鬶是良渚文化袋足鬶的发展和延续。良渚文化陶鬶造型的多样性和复杂性，不仅表明该文化的制陶技术已经十分高超，还说明良渚人有着丰富的精神世界。迥异的出土环境，表明良渚文化不同类型陶鬶的社会功能存在一定的差异。全文分为九部分。第一部分：引言界定本文研究对象的时空范围，指出其研究的意义。第二部分：研究历史与现状首先，对良渚文化陶鬶以往的考古学研究进行总结概括，将其分为四个阶段。然后，分析当前良渚文化陶鬶的研究现状，指出目前学界在良渚文化陶鬶的认识上存在的争议。第三部分：良渚文化的分期从良渚文化典型遗址出发，以层位关系为基础，结合器物组合的变化和典型陶器演变的分析，初步建立起良渚文化发展的时空框架，将良渚文化分为早、中、晚三期。第四部分：好川墓地与良渚文化的相对年代研究好川墓地与良渚文化之间的关系，指出二者之间的年代对应关系。好川墓地一、二期与良渚文化第6段相对应，好川墓地三期前段相当于良渚文化第7段，好川墓地三期后段和四期前段与良渚文化第8段年代相当。第五部分：陶鬶的演变序列对良渚文化陶鬶进行类型学分析，确定各类陶鬶的演变序列及其在良渚文化时空框架中的位置。实足鬶集中出现于良渚文化中期阶段，袋足鬶出现的年代稍晚，产生和发展于良渚文化中、晚期阶段。第六部分：陶鬶的渊源将良渚文化实足鬶与大汶口文化同类器进行比对研究，认为前者是在后者的影响下产生的。良渚文化袋足鬶的出现时间早于大汶口文化袋足鬶，其中大汶口文化地瓜鬶与良渚文化的相关器形存在密切联系。关于良渚文化袋足鬶的渊源问题，就目前的材料还无法作出明晰的解释。第七部分：良渚文化陶鬶的流向与年代下限根据尉迟寺、好川墓地等周边考古学文化中见到的良渚文化陶鬶，分析良渚文化陶鬶横向流布的方向与范围；就钱山漾文化中见到的长颈袋足鬶，研究良渚文化陶鬶的纵向流布。良渚文化与钱山漾文化前后相继，后者的起始年代就是前者的终止时间，本文研究认为良渚文化袋足鬶的年代下限当早于龙山文化早期第三段。第八部分：良渚文化陶鬶的功能根据陶鬶的造型、质地、埋藏环境等来研究良渚文化陶鬶所具有的社会功能。第九部分：结语概括总结本文的主要论点。更多还原

【Abstract】 The aim of this paper is to study the evaluative sequence, origin and flow, and thefunctions about the pottery Gui-tripods of Liangzhu Culture.First,I try to have arestaging of the Liangzhu culture, and taking advantage of the series of potteryGui-tripods excavated in Haochuan Cemetery,in order to figure out the sequence of thepottery Gui-tripods in the temporal and special framework of Liangzhu Culture. Thepottery Gui-solid tripods came into being and existed during the medium-stage ofLiangzhu Culture, while the pottery Gui-hollow tripods were produced a little later andthen fully developed in the middle and late stage of the Liangzhu Culture. Comparedwith the beginning of the pottery Guis of the Dawenkou Culture exhumed in the lowerreaches of the Yellow River, it is obvious that the birth of the Liangzhu potteryGui-solid tripods benefited from the former. The Liangzhu pottery Gui-hollow tripodsappeared earlier than the Dawenkou Culture, the sweet potato Guis of DawenkouCulture were in close with the pottery gui-hollow tripods of type Ba. Liangzhu hollowtripods had a strong effect on the surrounding archaeological cultures, for thelong-necked pottery gui-hollow tripod, the representative of the Qianshanyang Culture,could be seen as the descendant of the Liangzhu hollow tripod. The diversity andabundant of Liangzhu pottery Gui not only show the lofty ceramics of Liangzhuculture, but also show a colorful spiritual world of the prehistorical Liangzhuoccupants. Furthermore, Different deposition environments embody different socialfunctions of the pottery Guis.The whole thesis consists of9parts.Part1: IntroductionDefine the spatial and temporal framework of the object of the study and point outits significance. Part2: Reviewing of the related studiesBy generalizing the past archaeological studies about Liangzhu Culture, theycould be divided into four stages. After a clear analysis of the current study on potteryGuis of the culture, this part values the academic debates.Part3: The sequence of Liangzhu CultureBased on context in typical archaeological sites and typological approach ofpotteries, the spatial-temporal framework of Liangzhu Culture is initially established.It helps divide the Liangzhu Culture into early, medium and late stages.Part4: The relative date of the Haochuan Cemetery and Liangzhu CultureIn this part, the relationship between the Haochuan Cemetery and the LiangzhuCulture and their chronological relation are fully studied. The phase1and2ofHaochuan Cemetery corresponded to the6th stage of Liangzhu Culture, and the samecorresponding relations can be found between the phase3of Haochuan and the7thstage of Liangzhu. Similarly, the posterior segment of phase3and the forpart of phase4of Haochuan share a same time with the8th stage of Liangzhu.Part5:The development sequence of the pottery Gui-tripodsTypological analysis was carried out in order to find out the evaluative sequenceof different kinds of pottery Guis and their position in the spatial-temporal framework.The pottery Gui-solid tripods appeared intensively in the medium-term of theLiangzhu Culture, the time when the hollow tripods appeared and developed was in themiddle and late stages of Liangzhu Culture.Part6: The origin of pottery Gui-tripodsThis part compares the same kind of pottery vessels of Dawenkou Culture withLiangzhu pottery Gui-solid tripods to explain the latter appeared by the former’sinfluence. The Liangzhu pottery Gui-hollow tripods appeared earlier than those ofDawenkou Culture, the latter having close relation with relative vessels of theLiangzhu Culture. Unfortunately, Available data cannot give a reasonable explanationfor the origin of Liangzhu pottery Gui-hollow tripods.Part7: The flow and the lower age limit of Liangzhu pottery Guis According to the Liangzhu pottery Guis found in the Peripheral ArchaeologicalCulture fields such as the Yuchisi and Haochuan Cemetery, the transverse flow andarea of Liangzhu pottery Guis are analyzed in this part. And the information about theirportrait spread comes from long-necked pottery gui-hollow tripod seen inQianshanyang Culture. The Liangzhu Culture and Qianshanyang Culture came intobeing one after another, for the beginning age of the latter is the ending age of theformer. Thus, the study indicates that the lower age limit of Liangzhu hollow tripodshould be earlier than the3rdphase of the early Longshan Culture.Part8: Functions of the Liangzhu pottery GuisTry to deduce the social functions of Liangzhu pottery Guis by analyzing theirshapes, textures and burial environments.Part9: ConclusionMain ideas of this paper are summarized.更多还原