商周青銅觥的整理與研究
發(fā)布時(shí)間：2018-10-25 09:14
【摘要】：青銅觥最早出現(xiàn)于安陽殷墟婦好墓中,屬殷墟二期。青銅觥是一類比較特殊的青銅禮器,一般使用于等級較高的墓葬中。它一經(jīng)出現(xiàn)器形和紋飾各方面就相當(dāng)完善,在商代晚期數(shù)量較多,西周中后期逐漸消失。以往學(xué)術(shù)界對于青銅觥進(jìn)行專門研究的學(xué)者很少,更是鮮有涉及青銅觥的起源、演變、組合以及和其他器形之間的關(guān)系。 本文通過搜集出土、傳世青銅觥,在前人研究成果基礎(chǔ)上,采用統(tǒng)計(jì)學(xué)、類型學(xué)和文化因素分析法等方法對青銅觥進(jìn)行綜合研究。主要包括以下幾個(gè)部分： 第一部分：包括緒論和文章的第一章。梳理了自宋以來青銅觥研究現(xiàn)狀,區(qū)分了青銅觥在歷代著錄、研究中出現(xiàn)的與其他器類錯(cuò)用、混用的現(xiàn)象。明確了青銅觥研究的必要性和重要性。動(dòng)物形觥在形制上和匝、鳥獸尊、爵常被混淆,本文結(jié)合相關(guān)器類,分析青銅觥的器形特點(diǎn),試為其形制判定提出依據(jù),并就青銅觥的功用問題有所結(jié)論。 第二部分：青銅觥的類型學(xué)分析。根據(jù)青銅觥足部的變化和整體寫實(shí)感的強(qiáng)弱將其分為三型：A型為動(dòng)物型觥即三足或四足�。籅型為圈足觥,這個(gè)類型的青銅觥數(shù)量較多,持續(xù)的時(shí)間也比較長,基本存在于青銅觥的整個(gè)發(fā)展階段。根據(jù)這類圈足觥的圈足變化,將其分為圓圈足和方圈足兩個(gè)亞型；C型指角型觥,它的器形似牛角或兕角,沒有復(fù)雜的紋飾和動(dòng)物形象。另外有一些特殊形制的青銅觥也會(huì)在文中加以介紹。以類型學(xué)研究為基礎(chǔ),將青銅觥劃分為四期六段,研究發(fā)現(xiàn)殷墟四期,青銅觥在數(shù)量上最多,器物形制上最為完善同時(shí)精美、大氣,為青銅觥發(fā)展的高峰期。西周中期數(shù)量減少,開始走向衰落。 第三部分：出土青銅觥的組合關(guān)系及族屬分析。本文搜集出土青銅觥共45件,大部分集中于河南、陜西,在山東、山西、河北、江蘇、安徽等地只有少量出土。通過對不用時(shí)期器物組合的分析、對比,得出出土青銅觥的墓葬等級。對觥的族徽文字進(jìn)行分析,發(fā)現(xiàn)青銅觥為商人和商遺民所用祭祀禮器,且墓主人的社會(huì)地位較高,多為方國首領(lǐng)或者上層貴族,握有兵權(quán)。在文化因素上,除河南地區(qū)以外其他地區(qū)青銅觥擁有多種文化元素的融合。 第四部分：青銅觥的紋飾分析。通過統(tǒng)計(jì)青銅觥各部分紋飾的使用情況發(fā)現(xiàn),裝飾中采用滿花和“三層花”手法的非常多,動(dòng)物紋飾的運(yùn)用尤為發(fā)達(dá),通過對紋飾的分析可以看到當(dāng)時(shí)人們的審美眼光和宗教信仰。這也正是青銅觥的背后所蘊(yùn)含的深刻意義之一。 第五部分：青銅觥的衰落。結(jié)合出土青銅觥的地域、使用者、以及觥的特殊的功用,總結(jié)其逐漸走向消亡的幾點(diǎn)原因。青銅觥的消亡和當(dāng)時(shí)特有的政治、歷史環(huán)境以及其本身的變化有著密切的聯(lián)系。
[Abstract]:Bronze Gong first appeared in the tomb of Yin ruins in Anyang, belonging to the second phase of Yin ruins. Bronze gong is a kind of special bronze sacrificial ware, which is generally used in high-grade tombs. As soon as it appeared, it was quite perfect in various aspects, and in the late Shang Dynasty, it disappeared gradually in the middle and late Western Zhou Dynasty. In the past, there were few scholars in the academic circles specializing in the study of bronze gong, but also few related to the origin, evolution, combination and the relationship between the bronze gong and other vessel shapes. On the basis of the previous research results, this paper makes a comprehensive study on bronze gong by means of statistics, typology and cultural factor analysis. Mainly includes the following several parts: the first part: includes the introduction and the first chapter of the article. The present research situation of bronze Gong since Song Dynasty is combed, and the phenomenon of bronze gong being misused and mixed with other objects in the past dynasties is distinguished. The necessity and importance of bronze gong research are clarified. The shape of the gong is often confused with that of the turn, the bird and the beast, and the viscera. In this paper, the characteristics of the shape of the bronze gong are analyzed, and the basis for its shape determination is put forward, and the function of the bronze gong is also discussed in this paper. The second part: the typology analysis of bronze gong. According to the changes in the bronze gong feet and the strength of the overall realistic feeling, they can be divided into three types: type A is an animal gong, that is, a three-legged or four-legged gong, and type B is a ring-footed gong, which has a larger number and a longer duration. It basically exists in the whole development stage of bronze gong. According to the changes of the circular pods of this kind of pods, they can be divided into two subtypes: the circular pods and the square ring-pods; the C-type finger pods are shaped like horns or horns, without complicated ornamentation and animal images. In addition, a number of special forms of bronze gong will also be introduced in the article. On the basis of typology research, bronze gong is divided into four periods and six sections. It is found that bronze gong is the most abundant in quantity, the most perfect in form and exquisite in shape, and the atmosphere is the peak period of bronze gong development. The number of Western Zhou decreased and began to decline. The third part: unearthed bronze gong combination relationship and clan analysis. In this paper, 45 bronzes were collected, mostly concentrated in Henan, Shaanxi, Shandong, Shanxi, Hebei, Jiangsu, Anhui and other places only a few unearthed. Through the analysis of the combination of artifacts in the period of no use, the graveyard grade of unearthed bronze gong is obtained. By analyzing the characters of the clan emblem of Gong, it is found that bronze gong is a sacrificial instrument used by merchants and merchants, and the social status of the tomb owner is relatively high, most of which are the leaders of Fang Guo or the upper aristocrats, holding the right of soldiers. In terms of cultural factors, bronze Gong has multiple cultural elements except Henan. The fourth part: the pattern analysis of bronze gong. Through statistics on the use of bronze gong ornaments, it is found that there are many full flowers and "three layers of flowers" in decoration, especially in animal ornaments. Through the analysis of the ornaments, we can see the aesthetic vision and religious belief of people at that time. This is precisely one of the profound meanings behind the bronze gong. The fifth part: the decline of bronze gong. Combined with the area, users, and special functions of the bronze gong unearthed, this paper summarizes the reasons for its gradual demise. The extinction of bronze pongs is closely related to the political, historical environment and its own changes.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K876.41
[Abstract]:Bronze Gong first appeared in the tomb of Yin ruins in Anyang, belonging to the second phase of Yin ruins. Bronze gong is a kind of special bronze sacrificial ware, which is generally used in high-grade tombs. As soon as it appeared, it was quite perfect in various aspects, and in the late Shang Dynasty, it disappeared gradually in the middle and late Western Zhou Dynasty. In the past, there were few scholars in the academic circles specializing in the study of bronze gong, but also few related to the origin, evolution, combination and the relationship between the bronze gong and other vessel shapes. On the basis of the previous research results, this paper makes a comprehensive study on bronze gong by means of statistics, typology and cultural factor analysis. Mainly includes the following several parts: the first part: includes the introduction and the first chapter of the article. The present research situation of bronze Gong since Song Dynasty is combed, and the phenomenon of bronze gong being misused and mixed with other objects in the past dynasties is distinguished. The necessity and importance of bronze gong research are clarified. The shape of the gong is often confused with that of the turn, the bird and the beast, and the viscera. In this paper, the characteristics of the shape of the bronze gong are analyzed, and the basis for its shape determination is put forward, and the function of the bronze gong is also discussed in this paper. The second part: the typology analysis of bronze gong. According to the changes in the bronze gong feet and the strength of the overall realistic feeling, they can be divided into three types: type A is an animal gong, that is, a three-legged or four-legged gong, and type B is a ring-footed gong, which has a larger number and a longer duration. It basically exists in the whole development stage of bronze gong. According to the changes of the circular pods of this kind of pods, they can be divided into two subtypes: the circular pods and the square ring-pods; the C-type finger pods are shaped like horns or horns, without complicated ornamentation and animal images. In addition, a number of special forms of bronze gong will also be introduced in the article. On the basis of typology research, bronze gong is divided into four periods and six sections. It is found that bronze gong is the most abundant in quantity, the most perfect in form and exquisite in shape, and the atmosphere is the peak period of bronze gong development. The number of Western Zhou decreased and began to decline. The third part: unearthed bronze gong combination relationship and clan analysis. In this paper, 45 bronzes were collected, mostly concentrated in Henan, Shaanxi, Shandong, Shanxi, Hebei, Jiangsu, Anhui and other places only a few unearthed. Through the analysis of the combination of artifacts in the period of no use, the graveyard grade of unearthed bronze gong is obtained. By analyzing the characters of the clan emblem of Gong, it is found that bronze gong is a sacrificial instrument used by merchants and merchants, and the social status of the tomb owner is relatively high, most of which are the leaders of Fang Guo or the upper aristocrats, holding the right of soldiers. In terms of cultural factors, bronze Gong has multiple cultural elements except Henan. The fourth part: the pattern analysis of bronze gong. Through statistics on the use of bronze gong ornaments, it is found that there are many full flowers and "three layers of flowers" in decoration, especially in animal ornaments. Through the analysis of the ornaments, we can see the aesthetic vision and religious belief of people at that time. This is precisely one of the profound meanings behind the bronze gong. The fifth part: the decline of bronze gong. Combined with the area, users, and special functions of the bronze gong unearthed, this paper summarizes the reasons for its gradual demise. The extinction of bronze pongs is closely related to the political, historical environment and its own changes.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K876.41
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
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2 張?jiān)鑫?商周青銅兕觥初論[J];故宮博物院院刊;1994年03期
3 杜^，
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