作者： 张忠培
机构： 故宫博物院研究室
中文关键词： 杏花文化侧装双手陶鬲;;形制与制作工艺;;自成谱系;;文化中的位置影响与作用
英文关键词： The pottery li with side-attached double lugs of Xinghua culture; the craft technologyof form and manufacture;intrinsic genealogy; position within a culture;influence and function.
中文摘要： 侧装双手陶鬲是龙山时代分布于太行山脉两侧的杏花文化最具特征的标识性器物。据侧装双手陶鬲的形态变异及其层位关系,可排出其形态的演变序列。侧装双手陶鬲的制作工艺也相应地基本上经历了两个相继发展的阶段:前一阶段是受陶影响而产生的“式鬲”,由分制的鬲足和鬲身整合成全器,因鬲足的接法不同而形成宽弧裆和平裆;后一阶段才是真正意义的鬲,即抛弃鬲身靠鬲足的联接形成全器主体,并形成尖角裆。此型鬲工艺演变表明:工艺革命只是工艺演进的量的积累到一定程度出现的质变。它虽是变革传统,但它的发展速度、方向,又受传统以及传统中的矛盾逻辑地向前展现的轨迹或定式所影响乃至制约。没有革新与革命,就不能打破传统,然而传统确是伴随革新或革命的影子。这在纯粹的工艺中,则仅是惯性或为惰性思维,但工艺却是社会中的工艺,则又不能不涉及社会中不同人们的不同观念乃至利害矛盾以至冲突,甚至激起一部分人站出来捍卫祖法、保持传统的说教与斗争。这种陶鬲的排序,分别适用于岔沟、双务都、乔家沟和游邀、临水与杏花村诸遗址的杏花文化分期或文化阶段划分。这种陶鬲的谱系研究表明,杏花文化是一自具特征、演变清晰、源流有自,并对其周边地区产生了重要文化影响和起了重要作用的考古学文化。
英文摘要： The pottery li with side-attached double lugs is the most distinctive artefactual signifierof the Xinghua archaeological culture distubuted on either side of the Taihang Mountains during theLongshan Neolithic period.From therelationgship between the changes in form and stratigraphy of thispaoticular cultural artifact,we can deduct the sequence in the development of this particular ware. Thetechnology used in the manufacture of this particular type of pottery li also correspondingly underwenttwo fundamental and related stages in its development:(1) in the earlier stage it appears as a “ia-typeli”subject to influences in form from the vessel known as the pottery jia. This type of vessel has thefully formed legs and body of the li but its legs indirectly differ from those of the typical li in thatthey form arc-skirked and flat-skirted varieties.(2) The latter stage is that of the fully defined andformed li.The direct connection between the body and legs of the li is discarded and the object acquiresits unique form,the gaps between the legs of the vessel no longer being skirted,but angular and peaked.The evolution in the manufacture of this artifact demonstrates: innovation in various crafts is anincremental technical change over a sustained period with the frequency of application of a particulartechnical change finally effecting a qualitative change. Although it represents an innovation or revolu-tion in a tradition, the speed and direction in this developmental process are also subject to thetradition itself and to contradictions within the tradition on the path of logical forward movement indevelopment or to controls that define and influence the process. Without reform or revolution there canbe no break with a tradition yet tradition is the necessary corollary of reform or revolution and majorforces influencing them. In pure craft terms such developments may merely seem habitual or lazy processesof thought but the arts and crafts of manufacture are social acts and must necessarily interact with thedifferent viewpoints of individuals in that society and the contradictions and conflicts resulting fromthese differences between individuals who seek to acquire the upper hand, The conflicts give rise toheated and struggle with a group of persons who emerge to defend and maintain a tradition. In thesequential development of this pottery li we can distinguish between the applications of the object indifferent periods and cultural stages of Xinghua culture at the various sites of the culture: ChagouShuangwudu and Qiaojiagou, on the one hand and You’ao, Linshui and Xinghuacun,on the other. The study ofthe genealogy of this particular type of pottery li demonstrates that Xinghuacun culture developed its owndynamic with self-generated distinguishing characteristics,distingctive evolutionary developments,andits own sources and developmental streams,and that these aspects made Xinghuacun an archaeological culturethat played an important role in exerting significant cultural influences on the surrounding region.
[中文刊名]： 故宫博物院院刊[出版日期]： 2004-07-30[CN]： 11-1202/G2[ISSN]： 0452-7402
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