【作者】 吴文清；

【导师】 高策；

【作者基本信息】 山西大学 ， 科学技术史， 2011， 博士

【摘要】 区域文化研究是近年来文化研究中的热点问题,而区域文化的比较研究却少有涉及；在地方科技史研究中,就特定区域的器物工艺开展研究的成果比较丰富,对不同区域的工艺进行比较的研究却少人问津；在工艺比较中注入区域文化内涵的研究就属凤毛麟角了。本论文正是基于区域文化比较的视野,选择区域文化形成的源头时期——两周,就这一时期的器物工艺进行比较,以期拓展和深化地方科技史的研究。本论文包括绪论,正文一至四章,结论、参考文献和后记。绪论部分。对本论文研究的时间和空间及重要概念进行了界定,对论文的研究视域、研究的意义和价值进行了分析和说明,并对目前国内外关于本论题的研究现状进行了综述和评价。本研究运用的方法主要是“二重证法”、多学科交叉研究法、比较研究法、逻辑与历史相统一的方法。本论文的创新之处在于寻求三种突破：是将文化潜入器物工艺的研究之中；二是在地方科技史研究中率先开展不同区域器物工艺之间的比较研究；三是通过本课题的研究确立中国古代工艺源头的二元耦合论。第一章：两周中原文化与楚文化的特征比较。首先分西周、春秋、战国三个时期对中原文化和楚文化的整体特征进行了宏观的比较,然后分别从自然观(天人关系与鬼神观念)、思维方式(认识论与逻辑方法)两个方面对中原文化与楚文化的特征进行了梳理和比较。三个方面都得出了观点鲜明的对照和结论。本章带有纲领的性质和意义,为后面三种器物工艺的比较奠定了基础。第二章：青铜器工艺比较。本章在梳理两周时期青铜器发展脉络的基础上,主要从青铜采冶工艺、青铜器铸造工艺(陶范法、石范法、铜范工艺、失蜡法工艺、铸接焊接工艺、纹饰制作工艺)、装饰工艺(镶嵌工艺、鎏金工艺、表面合金化技术、刻纹工艺、髤漆工艺)三个方面进行了比较。第三章：漆器工艺比较。本章在梳理两周时期漆器发展脉络的基础上,主要从漆器制胎工艺(木胎工艺、竹胎工艺、夹纻胎工艺)、漆器器形工艺(觚、漆舟、扁壶、漆盒、漆豆、漆杯、虎座鸟架鼓、镇墓兽、漆鹿等)、漆器髹饰工艺(嵌螺钿工艺、嵌金银工艺、扣器工艺、圆雕工艺)、漆器纹饰工艺、漆器漆画工艺五个方面进行了比较。第四章：玉器工艺比较。本章在梳理两周时期玉器工艺发展脉络的基础上,从玉器材质、琢玉工艺(阴线雕刻、镶嵌工艺、镂雕技术、活环技术)、琢玉工具(解玉工具、琢磨工具、抛光工具)、器形工艺(礼器、装饰器、殓玉)、纹饰工艺(动物纹、植物纹、几何纹)五个方面进行了比较。结论部分。从三种典型工艺的比较,结合文献资料,总结归纳出中原文化和楚文化体系下两种工艺思想的特点：技术价值观方面形成了技利天下与技法自然,工具理性和摄用归体的对照；工艺制作观方面形成了简约与繁复、写实与浪漫的对照；工艺设计观方面形成了文质彬彬与大器免成,唯物唯天与超越心物的对照。并就两种工艺思想的交流与融合进行了分析和总结。更多还原

【Abstract】 For culture study, the regional culture study in recent years has been a hot issue, the comparative study in regional culture, however, is actually little concerned. In the aspect of local history of science and technology, research achivements for implements workmanship in specific areas are fruitful, but comparative research for different regions almost has been ignored. Thus, in the aspect of workmanship comparison, researches for connotation of regional culture are truely rare. In the perspective of region culture comparison, this dissertation takes Zhou China, the source of formation of regional culture period, as our research object to make a comparative study for the implements workmanship to expand and deepen researches in the local history of science and technology.This dissertation consists of contents as follows:introduction part, namely, the main body from chapter one to chapter four, conclusion, references and postscript.Introduction Part:Making a clear definition for time, space and other important concepts used in this dissertation, and we analyze and explain the research scope, its significance and relevant values. What is more, we have reviewed and evaluated current researches on this topic at home and abroad. "Dual assessment", interdisciplinary research method, comparative research method and research method of the unity of logic and history are the four main approaches used in this dissertation. The innovation in this dissertation is to pursue three break-throughs:Firstly, taking culture into researches concerning implements workmanship; Secondly, making comparative researches for implements workmanship in different regions in the field of local history of science and technology as a pioneer; Thirdly, by our researches, thoroughly breaking the view of the Central Plains Centrism to establish two-way coupling theory for chinese civilization source.Chapter One:Comparing the features for Central Plains Culture and Chu Culture in Zhou China. To begin with, the whole characteristics of Central Plains Cultures and Chu Culture are compared on the macroscopic horizon with the following three periods:Western Zhou Dynasty, Spring and Autumn Period, and Warring States. Then, varieties of features in Chu Culture and Central Plains Culture are combed and compared from the two aspects as follows:the natural view (relationship between heaven and humans, and ideas of ghosts and celestials), and the mode of thinking (epistemology and logic method). And we get meaningful contrast and conclusions in the three aspects. We aim to serve this chapter as a guideline for the following comparisons of the three typical crafts followed.Chapter Two:Comparison of bronze ware crafts. Based on the summaries of development of the bronze ware in Zhou China, we mainly make comparison in the three aspects as follows:the technology of bronze smelting, casting technique (pottery-modeled, stone-modeled, copper modeled crafts, wax losing crafts, casting and welding technique and the line inscripting), and bronze ware ornament technique (mosaic technique, gilding technique, surface-alloyed technology, lines carving technique and painting technique).Chapter Three:Comparison of the lacquerwork crafts. In this chapter, based on the summaries towards the development of lacquerwork crafts in Zhou China, we make comparison in the five aspects followed:the lacquer body making crafts (wood body technology, bamboo body technology, css folder technology), the lacquer shape crafts (gu, boat paint, flat pots, lacquer box, lacquer beans, paint cups, tiger seat and birds frame drum, beasts for securing tomb, paint deer), lacquer decoration crafts (inlay technology, gold and silver inlay technology, button technology, rounded sculpture technology), lacquer ware decoration technology, and lacquer painting process.Chapter Four:Comparison of the jade workmanship. In this chapter, based on summaries towards the development of jade workmanship in Zhou China, we make comparison in the five aspects as follows:jade materials, jade carving techniques (double lines sculpting, mosaic technology, piercing technology, huo huan technology), jade carving tools (jade loosened tool, grinding tools, polishing tool), shape crafts (ritual, decorators, jade burial), and decoration crafts (animal pattern, plant profile, geometric pattern).Conclusion:Combining the comparison of the three typical craftworks with scientific and technical literature, we summarize the characteristics of the two sorts of crafts thoughts in the Central Plains Culture and Chu Culture systems:in the aspect of technology values, we form the contrast as follows the comparison between the idea that technology is used to benefit the world and the thought that technology should imitate the nature; Also, there is contrast between instrumental rationality and "to absorb the external into the internal". As for the aspect of crafts producing process, there is the contrast of simplicity and complexity, realism and romance. What is more, in the aspect of crafts designing, there is the contrast followed:the contrast between "simplicity and elegance in harmony" and "great talents taking time to mature"; the contrast between "materialism and godism" and "beyond mind and matter". Furthermore, we have made analysis and summarization for the communication and fusion of the two sorts of crafts thoughts.更多还原